WHEN Feng Zhu - the concept designer who has worked on Hollywood movies such as Transformers, Teenage Mutant Ninja Turtles and Star Wars: Episode III - came to Singapore, his intention was to set up a game development company. But what he ended setting up, however, was the FZD School of Design, which aims to teach students how to conceptualise designs that will sell.
A dearth of talent needed to develop computer games led him to veer from his original business plan. Singapore had no shortage of capable and well-trained designers who could draw and operate design software, he says. But most of them lacked the 'fundamental skills' needed for conceptualising design.
So what exactly do these skills involve?
First, functionality underscores a product's design, so a thorough understanding of what a product is supposed to do is a necessity when designing it.
Secondly, it is vital to understand how to meld shapes, lighting, materials, composition, structure and proportion into one appealing yet practical product.
Product design is more of a science than an art, with an emphasis on what consumers want. It is a crucial step linking a basic idea to a viable business proposal.
Sharing his experience of on the movie Transformers, Mr Feng says that when the producer bought the rights to the movie, there was no business proposal and the project was not 'green-lighted'.
Working with the director, Michael Bay, Mr Feng translated Mr Bay's vision into pictures by coming up with prototypes of the various characters. The movie - which went on to gross many millions of dollars worldwide - was eventually given the green light after studio executives were convinced by the visual presentation that Mr Bay's direction had market potential.
Beyond the movie industry, Mr Feng has also worked with Landmark Entertainment, Disney, Sierra, MTV, Discovery Channel, Bandai and Universal on projects ranging from TV commercials and music videos to 3D rides. Some of the popular video games he has worked on include Superman, Lord of the Rings, Unreal Tournament 2007, Gears of War, the James Bond franchise, Command and Conquer III, and Battle for Middle Earth II.
The creative industry is, in Mr Feng's words, 'a very niche industry', with only a handful of reputable schools catering to its needs. But it's a very lucrative one - and one that is growing rapidly.
According to the United Nations Creative Economy Report 2008, trade in creative goods and services grew at an annual rate of 8.7 per cent between 2000 and 2005, while the global export of creative products grew 8.8 per cent annually between 1996 and 2005 to US$424.4 billion.
The creative industry is also the industry least affected by the global economic downturn. Mr Feng says: 'The crisis is affecting a lot of areas but not entertainment. People are still buying computer games and watching movies. Just look at Transformers 2 - it is still bringing in millions at the box office.'
However, the industry has in some ways gone unnoticed. A lack of understanding of the industry's potential, coupled with a traditional bias towards professions such as architecture, law and medicine, has led many to avoid a career in design.
Citing his own experience, Mr Feng said that his parents tried dissuading him from enrolling in the renowned Arts Center College of Design in Pasadena. However, he recalls that as a concept designer, he was earning more than the combined incomes of his parents - both doctors - by the age of 21.
The starting pay of a designer in the US in 2005 was about US$65,000 a year, increasing to US$75,000 or US$85,000 over the next couple of years.
Explaining the high wages, Mr Feng says: 'Companies make millions from computer games and intellectual property. And they know such revenue would not be possible if not for the conceptualisation work that translates a product idea into something tangible product, so they are willing to pay top dollar to the designers working on their products.'
However, he is quick to stress that the demand for product designers is concentrated mainly in the US - and that only good product designers command high pay. He also says that competition among designers is intense - and only the best succeed.
So, rather than admitting every interested candidate, Mr Feng's design school will screen students and admit only those with a passion for design. His focus is on establishing a strong reputation for the school.
Although the school has a maximum class size of about 25, the ideal class size will probably be smaller. 'I don't want it to grow big,' says Mr Feng. 'It's about quality, not quantity, when it comes to education in design.'
Currently, the school is funded out of his own pocket, and given the direction that he is taking, revenue from fees will not be a big source of cash. To supplement fee income, Mr Feng will take a leaf out of the Arts Centre College of Design's book - seeking business sponsors for various projects.
Under this arrangement, students will work on product development for sponsors, who will share the joint intellectual property with the school should the students succeed in creating a profitable design. This will give students hands-on experience with industry requirements, while motivating them to create winning designs that can be patented.
Prior to founding the school, Mr Feng set up a design studio in Beijing, where unlike in Singapore, he was able to find experienced designers. However, like many other entrepreneurs, he was drawn to Singapore's central location and bilingual work force - which he believes will help attract talent from the rest of the Asia-Pacific region.
He is also very impressed with the level of government support. 'They are very helpful, like your buddies,' he says. 'They will really work with you and talk real work with you.'
The school has benefited in particular from the Workforce Development Authority, which is providing one-time training subsidies of $20,000. Mr Feng thinks that such measures will benefit the entire economy by emphasising the importance of education.
But one thing that he feels is lacking in Singapore - and in most countries - is an emphasis on nurturing students' interests.
Risk aversion and peer pressure have led many students to veer away from nurturing their own talent, he says. From his experience, this is particularly evident in the US, where stereotyping means that many students with a flair for design feel like social misfits.
Mr Feng also says that governments should be more open to new curriculum structures. Initially, his school here was asked to conform to certain requirements in return for subsidies. But after some explanation, the government saw the value of the curriculum and the two parties eventually reached a compromise.
The FZD School of Design comes amid a growing trend of creative companies such as Lucasfilm, EA, Ubisoft and Double Negative setting up shop here. One wonders if we are seeing a shift away from the US to Asia.
Mr Feng does not think so. 'Asia may boast a cheaper labour force, but it's not a very strong creative force,' he says. 'The people are too inexperienced. After all, the industry has only been around less than 10 years here. I think what the companies are here for is to be ready when the Asian market begins to take off.'
