女孩的小屋是沿著古老的樹幹蜿蜒而建，因此樹幹就成為了建築本體很大的特色，不對稱與杆欄結構也增添外觀上的趣味。室內空間延續樹幹為建築的骨幹，進入女孩小屋首先會先來到火塘房，火塘房像是少數民族的交誼廳以及吃飯的地方，穿過火塘房，會來到屋後陰暗的工作室(像是製造古老秘方的藥草室)以及廚房，隨著樹幹的結構延伸到二樓女孩的小小臥室。整個動線都以樹幹為行進方向，創造出角色可以行走及表演的空間。
初期草稿階段作了很多的嚐試，地板的木板排列；牆上掛的東西；角落堆的雜物等等，把能想的細節都放進去，再加上一些比較變形的感覺，看起來比較不會無趣。
在開始繪製之前，參考資料的蒐集很重要。導演親自赴往到雲南實地拍攝，網路書籍所搜尋到的資料，加上對少數民族生活習慣以及女孩個性的想像，才能設計出有生活化的趣味場景，完成後將如大家所看到的樣子。雖然很多設計沒有出現在影片中，但在製作的過程還是讓人受益良多。其他的像是女孩房間/蠱房/廚房/樓梯等，都是以大樹幹為中心加蓋出來的空間。在草稿過程常被要求多次修改，但相對的當然一次比一次好，才會達到最後大家看到的成果。
The tree house of our heroine is constructed along with an ancient meandering tree trunk. The trunk became a great architectural feature, giving it an interesting appearance. The design of the trunk became the main structure for each room, and the cauldron room becomes our main focus for socializing and eating. And following the Trunk, we arrive to the kitchen and bedroom. The plots, movement, creativity of the characters all travel along the dynamic lines of the tree trunk. As always, before starting an illustration, we've collected references online and from the Director who has personally traveled to Yunnan. We've researched and were greatly influenced by the daily life of tribes along with incorporating our heroine's character. These information assisted me while designing the interior. We've had to make numerous revisions, and each time it becomes better than last. The final result is the fruit of our labor.
初期草稿階段作了很多的嚐試，地板的木板排列；牆上掛的東西；角落堆的雜物等等，把能想的細節都放進去，再加上一些比較變形的感覺，看起來比較不會無趣。
在開始繪製之前，參考資料的蒐集很重要。導演親自赴往到雲南實地拍攝，網路書籍所搜尋到的資料，加上對少數民族生活習慣以及女孩個性的想像，才能設計出有生活化的趣味場景，完成後將如大家所看到的樣子。雖然很多設計沒有出現在影片中，但在製作的過程還是讓人受益良多。其他的像是女孩房間/蠱房/廚房/樓梯等，都是以大樹幹為中心加蓋出來的空間。在草稿過程常被要求多次修改，但相對的當然一次比一次好，才會達到最後大家看到的成果。
The tree house of our heroine is constructed along with an ancient meandering tree trunk. The trunk became a great architectural feature, giving it an interesting appearance. The design of the trunk became the main structure for each room, and the cauldron room becomes our main focus for socializing and eating. And following the Trunk, we arrive to the kitchen and bedroom. The plots, movement, creativity of the characters all travel along the dynamic lines of the tree trunk. As always, before starting an illustration, we've collected references online and from the Director who has personally traveled to Yunnan. We've researched and were greatly influenced by the daily life of tribes along with incorporating our heroine's character. These information assisted me while designing the interior. We've had to make numerous revisions, and each time it becomes better than last. The final result is the fruit of our labor.
雲南房舍實景勘查
女孩小屋外觀設計
女孩小屋內部設計--火塘房
女孩小屋內部設計--蠱房
女孩小屋內部設計--廚房通往二樓通道之一
女孩小屋內部設計--廚房通往二樓通道之二
