ashvins-imagination

[ashvins-imagination]

WEEK 11 Compulsory Question 1

For this lesson of CTS B ,we were asked to tasked to create a design manifestos in a group. An Art or Design manifesto is essentially a bold, public statement where an artist, designer, or collective outlines their guiding principles, philosophies, and goals. Manifestos often reflect strong opinions or ideals and can serve as a call to action or a challenge to traditional perspectives in art and design. They help communicate an artist's or movement's vision and purpose, often aiming to inspire others or provoke thought within the creative community and beyond. One of the examples we looked at was, Design Manifestos, an online repository that catalogs a variety of significant manifestos from different design movements and individual creators. This collection illustrates the rich diversity of ideas present within the creative community, ranging from modernist principles to contemporary views on sustainability and social responsibility. Each manifesto featured on this platform provides valuable insights into the distinct perspectives that inform artistic expression and stimulate reflection within the wider creative community. For further information, you may visit Design Manifestos to discover examples that demonstrate how artists and designers articulate their visions and challenge conventional concepts. Engaging in the process of crafting our own manifesto enhanced our comprehension of how a designer's philosophy can influence their work and affect those who engage with it. After examining a range of inspirational works, we came to the conclusion that a design manifesto encapsulates the distinctive approach each designer takes in their artistic endeavors.

Each designer possesses a unique methodology and viewpoint, which is distinctly manifested in their personal art styles and interpretations of the world around them. The process of creating a manifesto enabled us to identify the themes that resonate with us in our creative practices, thereby clarifying our artistic identities. With this newfound understanding, we initiated the development of our group manifesto, drawing from both our collective and individual perspectives on the essence of art. This collaborative exercise expanded our viewpoints, fostering an appreciation for the varied interpretations present within our group. I selected a quote from an online source that articulates fundamental principles of effective design, which I found to be a valuable reference for designers to approach their work with intention. This "checklist" not only acts as a guide for artists but also perpetuates best practices that can motivate future generations of designers. In reflecting on today’s discussion, I have gained a deeper appreciation for the fact that each individual's perception of art is fundamentally personal, influenced by their own experiences and emotions. This diversity is what renders design captivating , it connects unique perspectives with a wide array of audiences.

[ashvins-imagination]

WEEK 12 Compulsory Question 2

We were asked to paraphrase the artistic vision statement in an attempt to answer the second question. We chose inclusive and community-driven as two design practices that could be associated with the theme of social engagement during our first class exercise. A number of places celebrating traditional and cultural heritage that we felt worth mentioning include the Little India street lighting. Deepavali or the festival of light consists of one major ritual that is, every year lighting up oil lamps to illuminate homes and communities. In the present day, this tradition is evident in the annual lighting up of Little India with varicolored lights that light up the streets but mostly include Deepavali and Hinduism. This, to me, depicts cultural design evident in the various areas of Singapore. Design is indeed a powerful tool through which traditions of time past are renewed within today's society, realising a smooth continued intergenerational dialogue.

A balanced design manages to reflect tradition and modernity, merging cultural heritage with the developing interests of today's youth.

Taking inspiration from pieces like "Harmony Spheres Lamp" and "Singapore Gothic," I would like to illustrate through my work the intensity of the experiences that life has thrown at me, combining my passions with the sociological landscape of today. Recent CTS lessons have helped me realise that to choose a career is to identify with my identity and values. The interplay between tradition and creative expressions buoyed by analytic thought, which has struck a chord within me, is the best way to make me appreciate that a career in design will improve my living standards and could also change how I perceive the world. I envision design as a medium for social interaction-a means of continuous creation of cultural renewal in the crafting of a future that respects our history. In this entire CTS journey, the experimentation process has been the communication means for creative expression that I have enjoyed the most. I really relish the thrill of trying to adapt to this ever-changing landscape, which constantly tests and moulds my ideas. Art, to me, is the search for and sharing with the world around me, a journey in finding ways to combine real-world influences with innovative ideas. My entire creative process has always begun with thorough research, anchoring every project with cultural and contextual insights; thus my work actually gets along pretty well with an audience. I then let my instincts take over to add the creative spark, in the hope that the works will be conceptually important and visually engaging. Through this inspiration, research, and innovation, the work not only characterizes my artistic vision but captures what I perceive to be the essence of socially engaged design. My ambition is to devise designs that are carriers of conversation, which tell stories and connect the lines between people in saluting the multifaceted lace of heritage with which all of us are endowed. I look forward to a period of extended skill refinement and to the research needed to understand how best to contribute to such a profession that is challenging yet rewarding. 

images used.

[ashvins-imagination]

WEEK 6 Critical Self-Reflectivity: How Do I Think About My Thinking Processes?

Up until this lesson in CTS i did not really reflect on my work much nor did i look back and make changes much to it. We engaged in a class activity today where we had to go out and find a design problem we had to fix. So we headed out as a group and photographed whatever that was deemed like design flaws and we brought them back to class to discuss and choose one to talk about.

So the one we decided to fix was the signboard which seemed too hard to read. We collectively understood that it's really hard to read against that backdrop and the letters were too small. Maybe an old person cannot find her way out? She might not be able to read that. We were thoughtful and thinking about them and made changes accordingly without being excessive. And in the long run the changes we make in the signboard may help someone out in the future.

Based on what we learned, I reflected on my work. Especially Studio, where we are designing a identity for Baybeats. During this process we had to research the needs and the stuff that already came before and take that into consideration when doing our project. Specifically our idea focuses on using animals that are native to southeast asia and give them a cartoonish like appearance adding them with humans. It is to showcase the edgy style and types of people who find interest in alternative music.

[ashvins-imagination]

WEEK 3 This is How We Connect Practice With Society

I was not in a lesson that day, so i had to do my research, This week, we discussed the idea of connecting practice with society. To me, this means considering the local and global issues that impact our world. As designers, we must remain aware of societal conditions and find ways to communicate these effectively. Our role involves highlighting aspects of a world in flux, as well as those elements, positive and negative, that persist over time. By collaborating with community members, including artisans and marginalized groups, designers can guarantee that their creations resonate with and address the needs of society, thereby promoting a more inclusive and sustainable influence. Additionally, producing brief documentaries focused on pertinent local issues serves as an effective method to illuminate societal challenges. This can be accomplished through narrative techniques, open dialogue, and a definitive call to action, motivating audiences to participate in or tackle these concerns. Reflecting on the impact of one's work on society is essential. Practicing mindfulness can enhance an individual's understanding of their social responsibilities, ensuring that personal values are in harmony with professional endeavors. Such methods highlight the significance of context, collaboration, and community, motivating designers and artists to apply their talents for the benefit of society. An example In Medellín, Colombia, the Biblioteca España has revitalized a community by promoting cultural expression, which in turn has strengthened social unity and stimulated economic development. This strategy establishes environments that fulfill practical requirements while also honoring local customs and historical narratives.

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WEEK 2 This Is How You Connect Theory and Practice

In a recent tutorial on integrating theory and practice, I gained valuable insights into how theoretical frameworks influence practical applications in design. A key takeaway was the importance of contextual relevance in turning abstract concepts into tangible outputs. For instance, in design psychology, theories like Gestalt principles and color theory are essential for user-centered designs. However, applying these theories in projects like the Baybeats festival rebranding requires understanding audience preferences and cultural nuances for impactful design. 

We also explored evidence-based practice, emphasizing the need for data to support design choices. This highlighted the importance of combining qualitative user feedback with quantitative data to create effective and aesthetically pleasing designs. In group work, we linked design theories to practical applications such as using contrast and hierarchy in a Baybeats logo to guide user attention and align with the festival's brand values.  

Reflecting on my approach, I noticed a tendency to focus too much on theory, complicating design elements without considering real-world constraints like budget and technical limitations. I aim to streamline my ideas to emphasize practical strategies and enhance the integration of theory into practice by prioritizing user-centered design and data-informed decisions in visual and branding projects