disney charmed adventures cover image mobile
disney charmed adventures cover image

Disney Princess:
Charmed Adventures

The princesses you know and love—in whole new kingdoms for them to explore.

Disney Princess:
Charmed Adventures

The princesses you know and love—in whole new kingdoms for them to explore.

Disney Princess:
Charmed Adventures

The princesses you know and love—in whole new kingdoms for them to explore.

Disney Princess:
Charmed Adventures

The princesses you know and love—in whole new kingdoms for them to explore.

Disney Princess: Charmed Adventures

The princesses you know and love—in whole new kingdoms for them to explore.

We started from the ground up, familiarizing ourselves with the individual attributes of each princess to be featured. Rapunzel for instance, is both creative and devoted, while Belle is inquisitive and brave. From there we came up with a storyline unique to each princess that highlight these traits and places each princess in the driver’s seat of her own adventure, designing mini-games that propel the story forward within a seamlessly scrollable kingdom.

We started from the ground up, familiarizing ourselves with the individual attributes of each princess to be featured. Rapunzel for instance, is both creative and devoted, while Belle is inquisitive and brave. From there we came up with a storyline unique to each princess that highlight these traits and places each princess in the driver’s seat of her own adventure, designing mini-games that propel the story forward within a seamlessly scrollable kingdom.

We started from the ground up, familiarizing ourselves with the individual attributes of each princess to be featured. Rapunzel for instance, is both creative and devoted, while Belle is inquisitive and brave. From there we came up with a storyline unique to each princess that highlight these traits and places each princess in the driver’s seat of her own adventure, designing mini-games that propel the story forward within a seamlessly scrollable kingdom.

We started from the ground up, familiarizing ourselves with the individual attributes of each princess to be featured. Rapunzel for instance, is both creative and devoted, while Belle is inquisitive and brave. From there we came up with a storyline unique to each princess that highlight these traits and places each princess in the driver’s seat of her own adventure, designing mini-games that propel the story forward within a seamlessly scrollable kingdom.

We started from the ground up, familiarizing ourselves with the individual attributes of each princess to be featured. Rapunzel for instance, is both creative and devoted, while Belle is inquisitive and brave. From there we came up with a storyline unique to each princess that highlight these traits and places each princess in the driver’s seat of her own adventure, designing mini-games that propel the story forward within a seamlessly scrollable kingdom.

Finally, there's the reward for all of the player’s hard work—individual charms earned through gameplay that can be used to decorate their very own digital charm bracelets. The result of this collaboration with Disney Publishing Worldwide is a fun and immersive experience for children ages 6–8 featuring familiar characters in an exciting new context.

Finally, there's the reward for all of the player’s hard work—individual charms earned through gameplay that can be used to decorate their very own digital charm bracelets. The result of this collaboration with Disney Publishing Worldwide is a fun and immersive experience for children ages 6–8 featuring familiar characters in an exciting new context.

Finally, there's the reward for all of the player’s hard work—individual charms earned through gameplay that can be used to decorate their very own digital charm bracelets. The result of this collaboration with Disney Publishing Worldwide is a fun and immersive experience for children ages 6–8 featuring familiar characters in an exciting new context.

Finally, there's the reward for all of the player’s hard work—individual charms earned through gameplay that can be used to decorate their very own digital charm bracelets. The result of this collaboration with Disney Publishing Worldwide is a fun and immersive experience for children ages 6–8 featuring familiar characters in an exciting new context.

Finally, there's the reward for all of the player’s hard work—individual charms earned through gameplay that can be used to decorate their very own digital charm bracelets. The result of this collaboration with Disney Publishing Worldwide is a fun and immersive experience for children ages 6–8 featuring familiar characters in an exciting new context.

rapunzel game screenshot

A mini-game from Rapunzel's kingdom where the objective is to collect all of the Flynn Rider Wanted posters.

A mini-game from Rapunzel's kingdom where the objective is to collect all of the Flynn Rider Wanted posters.

A mini-game from Rapunzel's kingdom where the objective is to collect all of the Flynn Rider Wanted posters.

A mini-game from Rapunzel's kingdom where the objective is to collect all of the Flynn Rider Wanted posters.

A mini-game from Rapunzel's kingdom where the objective is to collect all of the Flynn Rider Wanted posters.

“Even miracles take a little time.” —Fairy Godmother

“Even miracles take a little time.” —Fairy Godmother

“Even miracles take a little time.”
—Fairy Godmother

“Even miracles take a little time.”
—Fairy Godmother

“Even miracles take a little time.” —Fairy Godmother

To build out each princess’s kingdom, we were given access to a collection of assets from Disney’s art department. The challenge lay in stitching together all of these assets into a cohesive world that worked in tandem with the storyline, and where necessary, create our own illustrations to aid in the transition from one section of the world to the next.

To build out each princess’s kingdom, we were given access to a collection of assets from Disney’s art department. The challenge lay in stitching together all of these assets into a cohesive world that worked in tandem with the storyline, and where necessary, create our own illustrations to aid in the transition from one section of the world to the next.

To build out each princess’s kingdom, we were given access to a collection of assets from Disney’s art department. The challenge lay in stitching together all of these assets into a cohesive world that worked in tandem with the storyline, and where necessary, create our own illustrations to aid in the transition from one section of the world to the next.

To build out each princess’s kingdom, we were given access to a collection of assets from Disney’s art department. The challenge lay in stitching together all of these assets into a cohesive world that worked in tandem with the storyline, and where necessary, create our own illustrations to aid in the transition from one section of the world to the next.

To build out each princess’s kingdom, we were given access to a collection of assets from Disney’s art department. The challenge lay in stitching together all of these assets into a cohesive world that worked in tandem with the storyline, and where necessary, create our own illustrations to aid in the transition from one section of the world to the next.

For the task of designing Cinderella’s world, I started with a pencil sketch that roughly mapped out her kingdom and the entry points into each of the 4 mini-games, before moving into a high fidelity mockup using Photoshop during which I completed the bulk of the necessary image manipulation.

For the task of designing Cinderella’s world, I started with a pencil sketch that roughly mapped out her kingdom and the entry points into each of the 4 mini-games, before moving into a high fidelity mockup using Photoshop during which I completed the bulk of the necessary image manipulation.

For the task of designing Cinderella’s world, I started with a pencil sketch that roughly mapped out her kingdom and the entry points into each of the 4 mini-games, before moving into a high fidelity mockup using Photoshop during which I completed the bulk of the necessary image manipulation.

For the task of designing Cinderella’s world, I started with a pencil sketch that roughly mapped out her kingdom and the entry points into each of the 4 mini-games, before moving into a high fidelity mockup using Photoshop during which I completed the bulk of the necessary image manipulation.

For the task of designing Cinderella’s world, I started with a pencil sketch that roughly mapped out her kingdom and the entry points into each of the 4 mini-games, before moving into a high fidelity mockup using Photoshop during which I completed the bulk of the necessary image manipulation.

cinderella scrollable world
Cinderella's scrollable kingdom. The end of final row is seamlessly stitched to the beginning of the first row to create a loop.

Cinderella's scrollable kingdom. The end of final row is seamlessly stitched to the beginning of the first row to create a loop.

Cinderella's scrollable kingdom. The end of final row is seamlessly stitched to the beginning of the first row to create a loop.

Cinderella's scrollable kingdom. The end of final row is seamlessly stitched to the beginning of the first row to create a loop.

Cinderella's scrollable kingdom. The end of final row is seamlessly stitched to the beginning of the first row to create a loop.

This project gave me the exciting opportunity to work within Unity, a cross-platform game engine, allowing me to place finished 2D cut assets directly into the project’s 3D space to simulate depth. Extensive testing and subsequent adjustments were required to ensure there weren’t any gaps or awkward spots due to the parallax scrolling that occurred as Cinderella moved through her environment. I was also able to add select interactive animations into princesses’ kingdoms (learning some things about Unity’s particle system along the way), and was responsible for a majority of the lip sync between the princesses’ animations and their recorded dialog.

This project gave me the exciting opportunity to work within Unity, a cross-platform game engine, allowing me to place finished 2D cut assets directly into the project’s 3D space to simulate depth. Extensive testing and subsequent adjustments were required to ensure there weren’t any gaps or awkward spots due to the parallax scrolling that occurred as Cinderella moved through her environment. I was also able to add select interactive animations into princesses’ kingdoms (learning some things about Unity’s particle system along the way), and was responsible for a majority of the lip sync between the princesses’ animations and their recorded dialog.

This project gave me the exciting opportunity to work within Unity, a cross-platform game engine, allowing me to place finished 2D cut assets directly into the project’s 3D space to simulate depth. Extensive testing and subsequent adjustments were required to ensure there weren’t any gaps or awkward spots due to the parallax scrolling that occurred as Cinderella moved through her environment. I was also able to add select interactive animations into princesses’ kingdoms (learning some things about Unity’s particle system along the way), and was responsible for a majority of the lip sync between the princesses’ animations and their recorded dialog.

This project gave me the exciting opportunity to work within Unity, a cross-platform game engine, allowing me to place finished 2D cut assets directly into the project’s 3D space to simulate depth. Extensive testing and subsequent adjustments were required to ensure there weren’t any gaps or awkward spots due to the parallax scrolling that occurred as Cinderella moved through her environment. I was also able to add select interactive animations into princesses’ kingdoms (learning some things about Unity’s particle system along the way), and was responsible for a majority of the lip sync between the princesses’ animations and their recorded dialog.

This project gave me the exciting opportunity to work within Unity, a cross-platform game engine, allowing me to place finished 2D cut assets directly into the project’s 3D space to simulate depth. Extensive testing and subsequent adjustments were required to ensure there weren’t any gaps or awkward spots due to the parallax scrolling that occurred as Cinderella moved through her environment. I was also able to add select interactive animations into princesses’ kingdoms (learning some things about Unity’s particle system along the way), and was responsible for a majority of the lip sync between the princesses’ animations and their recorded dialog.

unity process

A look inside Unity while building Tiana's (The Princess & The Frog) kingdom. 2D assets are layered along a 3D axis to provide depth when scrolling.

A look inside Unity while building Tiana's (The Princess & The Frog) kingdom. 2D assets are layered along a 3D axis to provide depth when scrolling.

A look inside Unity while building Tiana's (The Princess & The Frog) kingdom. 2D assets are layered along a 3D axis to provide depth when scrolling.

A look inside Unity while building Tiana's (The Princess & The Frog) kingdom. 2D assets are layered along a 3D axis to provide depth when scrolling.

A look inside Unity while building Tiana's (The Princess & The Frog) kingdom. 2D assets are layered along a 3D axis to provide depth when scrolling.

A Younger Audience = An Adjusted Approach

A Younger Audience = An Adjusted Approach

A Younger Audience = An Adjusted Approach

A Younger Audience =
An Adjusted Approach

A Younger Audience =
An Adjusted Approach

Whenever we had the chance, user testing was conducted with children at or around the game's target age. We observed how they reacted to everything, from navigating the kingdom and the mini-games themselves (often unfinished prototypes), to the jewelry box where the charm bracelets lived. Any issues with mini-games, whether it was too confusing, too slow, or not fun enough, were caught early on and the entire team worked collaboratively to improve them. Aspects of a player’s journey through a princess’s adventure that proved unclear were also revamped, whether that was making the play button more prominent or introducing a floating indicator that provided more information on a player’s progress.

Whenever we had the chance, user testing was conducted with children at or around the game's target age. We observed how they reacted to everything, from navigating the kingdom and the mini-games themselves (often unfinished prototypes), to the jewelry box where the charm bracelets lived. Any issues with mini-games, whether it was too confusing, too slow, or not fun enough, were caught early on and the entire team worked collaboratively to improve them. Aspects of a player’s journey through a princess’s adventure that proved unclear were also revamped, whether that was making the play button more prominent or introducing a floating indicator that provided more information on a player’s progress.

Whenever we had the chance, user testing was conducted with children at or around the game's target age. We observed how they reacted to everything, from navigating the kingdom and the mini-games themselves (often unfinished prototypes), to the jewelry box where the charm bracelets lived. Any issues with mini-games, whether it was too confusing, too slow, or not fun enough, were caught early on and the entire team worked collaboratively to improve them. Aspects of a player’s journey through a princess’s adventure that proved unclear were also revamped, whether that was making the play button more prominent or introducing a floating indicator that provided more information on a player’s progress.

Whenever we had the chance, user testing was conducted with children at or around the game's target age. We observed how they reacted to everything, from navigating the kingdom and the mini-games themselves (often unfinished prototypes), to the jewelry box where the charm bracelets lived. Any issues with mini-games, whether it was too confusing, too slow, or not fun enough, were caught early on and the entire team worked collaboratively to improve them. Aspects of a player’s journey through a princess’s adventure that proved unclear were also revamped, whether that was making the play button more prominent or introducing a floating indicator that provided more information on a player’s progress.

Whenever we had the chance, user testing was conducted with children at or around the game's target age. We observed how they reacted to everything, from navigating the kingdom and the mini-games themselves (often unfinished prototypes), to the jewelry box where the charm bracelets lived. Any issues with mini-games, whether it was too confusing, too slow, or not fun enough, were caught early on and the entire team worked collaboratively to improve them. Aspects of a player’s journey through a princess’s adventure that proved unclear were also revamped, whether that was making the play button more prominent or introducing a floating indicator that provided more information on a player’s progress.

sketches and final screenshot of ariel mini-game

Sketches VS the final screenshot of an Ariel mini-game where the objective is to tap all the tentacles as they appear (the eye is bonus!).

Sketches VS the final screenshot of an Ariel mini-game where the objective is to tap all the tentacles as they appear (the eye is bonus!).
Sketches VS the final screenshot of an Ariel mini-game where the objective is to tap all the tentacles as they appear (the eye is bonus!).

Sketches VS the final screenshot of an Ariel mini-game where the objective is to tap all the tentacles as they appear (the eye is bonus!).

Sketches VS the final screenshot of an Ariel mini-game where the objective is to tap all the tentacles as they appear (the eye is bonus!).

tiana game progress indicator
A floating indicator above Tiana leads the player back to the entry point of a mini-game if they've walked by it.
A floating indicator above Tiana leads the player back to the entry point of a mini-game if they've walked by it.
A floating indicator above Tiana leads the player back to the entry point of a mini-game if they've walked by it.
A floating indicator above Tiana leads the player back to the entry point of a mini-game if they've walked by it.
A floating indicator above Tiana leads the player back to the entry point of a mini-game if they've walked by it.

In-App Purchases, Integrated

In-App Purchases, Integrated

In-App Purchases, Integrated

In-App Purchases, Integrated

In-App Purchases, Integrated

An interesting UX challenge presented itself in the form of in-app purchases (IAPs) for Charmed Adventures. Instead of having a dedicated store button, Disney requested that access to purchasable items be integrated at relevant points within the app. I started with a list of IAP types that would be available, then proceeded to determine how and where the user (most likely a parent) would access those items. With the exception of a Value Pack that’s always visible, the selection of IAPs a user sees is dependent on where they’re accessing the store from, so that we only show the items relevant to what the player is currently doing.

An interesting UX challenge presented itself in the form of in-app purchases (IAPs) for Charmed Adventures. Instead of having a dedicated store button, Disney requested that access to purchasable items be integrated at relevant points within the app. I started with a list of IAP types that would be available, then proceeded to determine how and where the user (most likely a parent) would access those items. With the exception of a Value Pack that’s always visible, the selection of IAPs a user sees is dependent on where they’re accessing the store from, so that we only show the items relevant to what the player is currently doing.

An interesting UX challenge presented itself in the form of in-app purchases (IAPs) for Charmed Adventures. Instead of having a dedicated store button, Disney requested that access to purchasable items be integrated at relevant points within the app. I started with a list of IAP types that would be available, then proceeded to determine how and where the user (most likely a parent) would access those items. With the exception of a Value Pack that’s always visible, the selection of IAPs a user sees is dependent on where they’re accessing the store from, so that we only show the items relevant to what the player is currently doing.

An interesting UX challenge presented itself in the form of in-app purchases (IAPs) for Charmed Adventures. Instead of having a dedicated store button, Disney requested that access to purchasable items be integrated at relevant points within the app. I started with a list of IAP types that would be available, then proceeded to determine how and where the user (most likely a parent) would access those items. With the exception of a Value Pack that’s always visible, the selection of IAPs a user sees is dependent on where they’re accessing the store from, so that we only show the items relevant to what the player is currently doing.

An interesting UX challenge presented itself in the form of in-app purchases (IAPs) for Charmed Adventures. Instead of having a dedicated store button, Disney requested that access to purchasable items be integrated at relevant points within the app. I started with a list of IAP types that would be available, then proceeded to determine how and where the user (most likely a parent) would access those items. With the exception of a Value Pack that’s always visible, the selection of IAPs a user sees is dependent on where they’re accessing the store from, so that we only show the items relevant to what the player is currently doing.

Various user flows for accessing the store, including alternate options for the purposes of A/B testing.

Various user flows for accessing the store, including alternate options for the purposes of A/B testing.

Various user flows for accessing the store, including alternate options for the purposes of A/B testing.

Various user flows for accessing the store, including alternate options for the purposes of A/B testing.

Various user flows for accessing the store, including alternate options for the purposes of A/B testing.

integrated store
Final screenshot of the integrated store when accessed through Belle.

Final screenshot of the integrated store when accessed through Belle.

Final screenshot of the integrated store when accessed through Belle.

Final screenshot of the integrated store when accessed through Belle.

Final screenshot of the integrated store when accessed through Belle.

For instance, in order to encourage the purchase of charm packs from a player’s jewelry box, I suggested that various charms the player doesn’t yet own—indicated by a “locked” appearance—could be interspersed throughout their existing charm collection, giving the player a preview of what they could have. Tapping a locked charm brings them to a store view, where the corresponding charm pack is visually highlighted amongst the other relevant charm packs available for purchase. Of course, to safeguard against overzealous tapping, a dialog requiring parent intervention is shown before a purchase can actually go through.

For instance, in order to encourage the purchase of charm packs from a player’s jewelry box, I suggested that various charms the player doesn’t yet own—indicated by a “locked” appearance—could be interspersed throughout their existing charm collection, giving the player a preview of what they could have. Tapping a locked charm brings them to a store view, where the corresponding charm pack is visually highlighted amongst the other relevant charm packs available for purchase. Of course, to safeguard against overzealous tapping, a dialog requiring parent intervention is shown before a purchase can actually go through.

For instance, in order to encourage the purchase of charm packs from a player’s jewelry box, I suggested that various charms the player doesn’t yet own—indicated by a “locked” appearance—could be interspersed throughout their existing charm collection, giving the player a preview of what they could have. Tapping a locked charm brings them to a store view, where the corresponding charm pack is visually highlighted amongst the other relevant charm packs available for purchase. Of course, to safeguard against overzealous tapping, a dialog requiring parent intervention is shown before a purchase can actually go through.

For instance, in order to encourage the purchase of charm packs from a player’s jewelry box, I suggested that various charms the player doesn’t yet own—indicated by a “locked” appearance—could be interspersed throughout their existing charm collection, giving the player a preview of what they could have. Tapping a locked charm brings them to a store view, where the corresponding charm pack is visually highlighted amongst the other relevant charm packs available for purchase. Of course, to safeguard against overzealous tapping, a dialog requiring parent intervention is shown before a purchase can actually go through.

For instance, in order to encourage the purchase of charm packs from a player’s jewelry box, I suggested that various charms the player doesn’t yet own—indicated by a “locked” appearance—could be interspersed throughout their existing charm collection, giving the player a preview of what they could have. Tapping a locked charm brings them to a store view, where the corresponding charm pack is visually highlighted amongst the other relevant charm packs available for purchase. Of course, to safeguard against overzealous tapping, a dialog requiring parent intervention is shown before a purchase can actually go through.

locked charms
The player can preview the purchasable charms for every single princess right in their charm tray.
The player can preview the purchasable charms for every single princess right in their charm tray.
The player can preview the purchasable charms for every single princess right in their charm tray.
The player can preview the purchasable charms for every single princess right in their charm tray.
The player can preview the purchasable charms for every single princess right in their charm tray.

The Devil’s in the Detail

The Devil’s in the Detail

The Devil’s in the Detail

The Devil’s in the Detail

The Devil’s in the Detail

Hand lettering is a hobby of mine, so I was thrilled about getting the chance to incorporate it into this app as an elegant solution to a problem that arose when designing charms that featured numbers and letters. While the collection of available typefaces Disney licensed for us to use was perfectly sufficient for the rest of the app, the selection of script typefaces had less than ideal legibility, especially for children. Hand lettering allowed me to make optical adjustments and thoughtfully choose the style of certain letters (amazing how many ways you can write a cursive G!). The result was the best of both worlds—I could maximize legibility while maintaining the overall fancy look and feel that rounded out this charm set nicely.

Hand lettering is a hobby of mine, so I was thrilled about getting the chance to incorporate it into this app as an elegant solution to a problem that arose when designing charms that featured numbers and letters. While the collection of available typefaces Disney licensed for us to use was perfectly sufficient for the rest of the app, the selection of script typefaces had less than ideal legibility, especially for children. Hand lettering allowed me to make optical adjustments and thoughtfully choose the style of certain letters (amazing how many ways you can write a cursive G!). The result was the best of both worlds—I could maximize legibility while maintaining the overall fancy look and feel that rounded out this charm set nicely.

Hand lettering is a hobby of mine, so I was thrilled about getting the chance to incorporate it into this app as an elegant solution to a problem that arose when designing charms that featured numbers and letters. While the collection of available typefaces Disney licensed for us to use was perfectly sufficient for the rest of the app, the selection of script typefaces had less than ideal legibility, especially for children. Hand lettering allowed me to make optical adjustments and thoughtfully choose the style of certain letters (amazing how many ways you can write a cursive G!). The result was the best of both worlds—I could maximize legibility while maintaining the overall fancy look and feel that rounded out this charm set nicely.

Hand lettering is a hobby of mine, so I was thrilled about getting the chance to incorporate it into this app as an elegant solution to a problem that arose when designing charms that featured numbers and letters. While the collection of available typefaces Disney licensed for us to use was perfectly sufficient for the rest of the app, the selection of script typefaces had less than ideal legibility, especially for children. Hand lettering allowed me to make optical adjustments and thoughtfully choose the style of certain letters (amazing how many ways you can write a cursive G!). The result was the best of both worlds—I could maximize legibility while maintaining the overall fancy look and feel that rounded out this charm set nicely.

Hand lettering is a hobby of mine, so I was thrilled about getting the chance to incorporate it into this app as an elegant solution to a problem that arose when designing charms that featured numbers and letters. While the collection of available typefaces Disney licensed for us to use was perfectly sufficient for the rest of the app, the selection of script typefaces had less than ideal legibility, especially for children. Hand lettering allowed me to make optical adjustments and thoughtfully choose the style of certain letters (amazing how many ways you can write a cursive G!). The result was the best of both worlds—I could maximize legibility while maintaining the overall fancy look and feel that rounded out this charm set nicely.

lettering on paper
Initial lettering was done on paper using a brush pen.
Initial lettering was done on paper using a brush pen.
Initial lettering was done on paper using a brush pen.
Initial lettering was done on paper using a brush pen.
Initial lettering was done on paper using a brush pen.
letters charm pack
Each letter was then cleaned up and finalized in Photoshop, and included as part of the Letters & Numbers charm set.
Each letter was then cleaned up and finalized in Photoshop, and included as part of the Letters & Numbers charm set.
Each letter was then cleaned up and finalized in Photoshop, and included as part of the Letters & Numbers charm set.
Each letter was then cleaned up and finalized in Photoshop, and included as part of the Letters & Numbers charm set.
Each letter was then cleaned up and finalized in Photoshop, and included as part of the Letters & Numbers charm set.

The sheer amount of required assets also gave me the opportunity to contribute some illustration and assist with the production work. Tiana’s mini-games heavily featured food that the available assets from Disney were distinctly lacking, so I digitally painted an entire set of fresh ingredients that ranged from produce to meat and seafood.

The sheer amount of required assets also gave me the opportunity to contribute some illustration and assist with the production work. Tiana’s mini-games heavily featured food that the available assets from Disney were distinctly lacking, so I digitally painted an entire set of fresh ingredients that ranged from produce to meat and seafood.

The sheer amount of required assets also gave me the opportunity to contribute some illustration and assist with the production work. Tiana’s mini-games heavily featured food that the available assets from Disney were distinctly lacking, so I digitally painted an entire set of fresh ingredients that ranged from produce to meat and seafood.

The sheer amount of required assets also gave me the opportunity to contribute some illustration and assist with the production work. Tiana’s mini-games heavily featured food that the available assets from Disney were distinctly lacking, so I digitally painted an entire set of fresh ingredients that ranged from produce to meat and seafood.

The sheer amount of required assets also gave me the opportunity to contribute some illustration and assist with the production work. Tiana’s mini-games heavily featured food that the available assets from Disney were distinctly lacking, so I digitally painted an entire set of fresh ingredients that ranged from produce to meat and seafood.

tiana's food illustrations
Every food item I illustrated for Tiana's kingdom was carefully chosen to reflect ingredients that could be used for Southern food recipes.
Every food item I illustrated for Tiana's kingdom was carefully chosen to reflect ingredients that could be used for Southern food recipes.
Every food item I illustrated for Tiana's kingdom was carefully chosen to reflect ingredients that could be used for Southern food recipes.
Every food item I illustrated for Tiana's kingdom was carefully chosen to reflect ingredients that could be used for Southern food recipes.
Every food item I illustrated for Tiana's kingdom was carefully chosen to reflect ingredients that could be used for Southern food recipes.

Additional contributions included establishing consistency across princesses’ UI elements to make sure they followed a single signature color (referencing Disney’s brand guidelines), creating dialog boxes for in-app and in-game messaging, designing icons for certain games that can be seen throughout gameplay, and suggesting a spinning bracelet as a branded version of a loading indicator, which ultimately made it in.

Additional contributions included establishing consistency across princesses’ UI elements to make sure they followed a single signature color (referencing Disney’s brand guidelines), creating dialog boxes for in-app and in-game messaging, designing icons for certain games that can be seen throughout gameplay, and suggesting a spinning bracelet as a branded version of a loading indicator, which ultimately made it in.

Additional contributions included establishing consistency across princesses’ UI elements to make sure they followed a single signature color (referencing Disney’s brand guidelines), creating dialog boxes for in-app and in-game messaging, designing icons for certain games that can be seen throughout gameplay, and suggesting a spinning bracelet as a branded version of a loading indicator, which ultimately made it in.

Additional contributions included establishing consistency across princesses’ UI elements to make sure they followed a single signature color (referencing Disney’s brand guidelines), creating dialog boxes for in-app and in-game messaging, designing icons for certain games that can be seen throughout gameplay, and suggesting a spinning bracelet as a branded version of a loading indicator, which ultimately made it in.

Additional contributions included establishing consistency across princesses’ UI elements to make sure they followed a single signature color (referencing Disney’s brand guidelines), creating dialog boxes for in-app and in-game messaging, designing icons for certain games that can be seen throughout gameplay, and suggesting a spinning bracelet as a branded version of a loading indicator, which ultimately made it in.

game ui 1
game ui 2
Colors chosen for the UI match each individual princess. Shown here are back, done, play, unlock, loading, and download buttons.
Colors chosen for the UI match each individual princess. Shown here are back, done, play, unlock, loading, and download buttons.
Colors chosen for the UI match each individual princess. Shown here are back, done, play, unlock, loading, and download buttons.
Colors chosen for the UI match each individual princess. Shown here are back, done, play, unlock, loading, and download buttons.
Colors chosen for the UI match each individual princess. Shown here are back, done, play, unlock, loading, and download buttons.

Princesses for the Modern Day

Princesses for the Modern Day

Princesses for the Modern Day

Princesses for the Modern Day

Princesses for the Modern Day

While reading through Disney’s publishing strategy for editorial and design, I was pleased to see a strong effort to emphasize each individual princess’s strengths, and showcase the diverse talents and personalities that make up their roster of princesses. Charmed Adventures helps to push that message further, with each princess playing an active role in her own adventure and games that highlight their inner qualities, whether that’s Ariel’s tenacity or Cinderella’s courage. Combined with visually stimulating graphics, a total of 20 playable mini-games, and more than 200 individual charms, the magic lives on for any adventurous princess-to-be out there.

While reading through Disney’s publishing strategy for editorial and design, I was pleased to see a strong effort to emphasize each individual princess’s strengths, and showcase the diverse talents and personalities that make up their roster of princesses. Charmed Adventures helps to push that message further, with each princess playing an active role in her own adventure and games that highlight their inner qualities, whether that’s Ariel’s tenacity or Cinderella’s courage. Combined with visually stimulating graphics, a total of 20 playable mini-games, and more than 200 individual charms, the magic lives on for any adventurous princess-to-be out there.

While reading through Disney’s publishing strategy for editorial and design, I was pleased to see a strong effort to emphasize each individual princess’s strengths, and showcase the diverse talents and personalities that make up their roster of princesses. Charmed Adventures helps to push that message further, with each princess playing an active role in her own adventure and games that highlight their inner qualities, whether that’s Ariel’s tenacity or Cinderella’s courage. Combined with visually stimulating graphics, a total of 20 playable mini-games, and more than 200 individual charms, the magic lives on for any adventurous princess-to-be out there.

While reading through Disney’s publishing strategy for editorial and design, I was pleased to see a strong effort to emphasize each individual princess’s strengths, and showcase the diverse talents and personalities that make up their roster of princesses. Charmed Adventures helps to push that message further, with each princess playing an active role in her own adventure and games that highlight their inner qualities, whether that’s Ariel’s tenacity or Cinderella’s courage. Combined with visually stimulating graphics, a total of 20 playable mini-games, and more than 200 individual charms, the magic lives on for any adventurous princess-to-be out there.

While reading through Disney’s publishing strategy for editorial and design, I was pleased to see a strong effort to emphasize each individual princess’s strengths, and showcase the diverse talents and personalities that make up their roster of princesses. Charmed Adventures helps to push that message further, with each princess playing an active role in her own adventure and games that highlight their inner qualities, whether that’s Ariel’s tenacity or Cinderella’s courage. Combined with visually stimulating graphics, a total of 20 playable mini-games, and more than 200 individual charms, the magic lives on for any adventurous princess-to-be out there.

tiana food in context

Creative Director: Julian Damy
Designers: Isar Chang, Bomina Kim, Lucia Kim, Ji Yun Kim
Chief Technology Officer: Rocco Bowling
Developers: Benjamin Bennett, Nick Bowlin, Stanle De la Cruz, Dylan Longstreet, Javier Moreno, Taylor Plimpton
Animators: Kathryn Kirschner, Courtney Parks
Producers: Drew Cogbill, Garrett Glick, Michael Seidler

Creative Director: Julian Damy
Designers: Isar Chang, Bomina Kim, Lucia Kim, Ji Yun Kim
Chief Technology Officer: Rocco Bowling
Developers: Benjamin Bennett, Nick Bowlin, Stanle De la Cruz, Dylan Longstreet, Javier Moreno, Taylor Plimpton
Animators: Kathryn Kirschner, Courtney Parks
Producers: Drew Cogbill, Garrett Glick, Michael Seidler

Creative Director: Julian Damy
Designers: Isar Chang, Bomina Kim, Lucia Kim, Ji Yun Kim
Chief Technology Officer: Rocco Bowling
Developers: Benjamin Bennett, Nick Bowlin, Stanle De la Cruz, Dylan Longstreet, Javier Moreno, Taylor Plimpton
Animators: Kathryn Kirschner, Courtney Parks
Producers: Drew Cogbill, Garrett Glick, Michael Seidler

Creative Director: Julian Damy
Designers: Isar Chang, Bomina Kim, Lucia Kim, Ji Yun Kim
Chief Technology Officer: Rocco Bowling
Developers: Benjamin Bennett, Nick Bowlin, Stanle De la Cruz, Dylan Longstreet, Javier Moreno, Taylor Plimpton
Animators: Kathryn Kirschner, Courtney Parks
Producers: Drew Cogbill, Garrett Glick, Michael Seidler

Creative Director: Julian Damy
Designers: Isar Chang, Bomina Kim, Lucia Kim, Ji Yun Kim
Chief Technology Officer: Rocco Bowling
Developers: Benjamin Bennett, Nick Bowlin, Stanle De la Cruz, Dylan Longstreet, Javier Moreno, Taylor Plimpton
Animators: Kathryn Kirschner, Courtney Parks
Producers: Drew Cogbill, Garrett Glick, Michael Seidler

© Isar Chang 2019