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Question 2 (CTS-B)

The intersection of my personal interests, values, and future aspirations defines my artistic vision. Through photography—particularly film, street, and food photography—I capture moments that reflect the essence of people, places, and cultures. These subjects are not just aesthetic choices; they represent my fascination with storytelling, the human experience, and the richness of culture.

In relation to Week 4 & 5's lesson on tradition/lineage, I was inspired to make a conscious effort to connect tradition with modern design practices. With this understanding, it allows for deeper analyses and reflections on the historical and cultural environment which would help create designs that resonate on a deeper level. As Cross (2006) highlights in Design Thinking, understanding the broader cultural backdrop informs the narrative we build into our designs, ensuring they are not only visually compelling but also meaningful. By respecting the context in which these traditions exist and weaving that understanding into my designs, I’ve avoided creating superficial work and instead produced pieces that are rich with intent. This approach ensures that my designs carry cultural relevance and contribute to preserving and passing on traditional practices.

Moreover, this emphasis on context aligns with Schön’s (1983) notion of reflection-in-action, where evaluating design decisions in real time enables a more nuanced and thoughtful output. By thoughtfully considering the medium and form of my designs, such as the cube for the Wayang Kulit stage or the printed format for the zine, I am able to elevate the message, making it not just an aesthetic experience but one that prompts reflection on the deeper narratives of heritage and culture. Thus, the fusion of tradition with modern design practices allows my work to transcend the purely visual and make a lasting cultural impact.

In the snippet of the interview, which my cousin helped to translate, the ibu (lady) is explaining how she started weaving. I believe such personal and historical contexts are crucial in design because they serve as a bridge between the past and the present, allowing us to understand not only the technique but also the cultural significance behind it. The ibu’s story adds a layer of depth to the design, transforming it from a mere aesthetic expression to a living history, rich with meaning and tradition.

The importance of tradition and lineage in design is reflected in the way these stories inform the creative process. By grounding our work in the experiences and practices of those before us, we can create designs that resonate on a deeper, more authentic level. The weaving techniques, for example, are not just patterns or forms—they are the physical manifestation of cultural continuity, passed down through generations. By incorporating this historical context into my designs, such as in the zine on Songket and Ikat weaving, I aim to preserve and amplify these traditions, allowing them to remain relevant in a rapidly changing world.

Word Count: 472 words

References

Cross, Nigel. Design Thinking: Understanding How Designers Think and Work. Berg Publishers, 2006.

Schön, Donald A. The Reflective Practitioner: How Professionals Think in Action. Basic Books, 1983.

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Question 1 (CTS-B)

The group manifesto highlights the importance of embracing creativity’s messy process, respecting cultural context in design, and focusing on storytelling over selling. It encourages curiosity and staying ahead of trends, using simplicity to create bold, impactful designs. At the same time, consistency across all platforms is emphasised to build a cohesive, reliable brand that resonates with audiences.

Looking at both my personal manifesto and the group’s manifesto, I can see several areas of alignment, as well as opportunities for adjustments to better reflect my personal design philosophy. There are shared values and principles, but my manifesto takes a more nuanced, introspective approach, while the group’s manifesto is focused on broader branding principles.

Both manifestos share key values, starting with the importance of embracing creativity’s chaos. We both recognise that great ideas emerge from unpredictability and experimentation, and that creativity thrives in the mess. Additionally, both manifestos highlight the need for cultural sensitivity and authenticity, ensuring that design choices are informed by a deep understanding of context and meaning. Lastly, both emphasise the value of curiosity and continuous growth, with a shared commitment to staying open-minded, exploring new techniques, and pushing boundaries in design to keep evolving.

One key difference I would address is the group manifesto's strong emphasis on consistency. While I understand the importance of creating a coherent brand identity across platforms, I believe there’s room for more flexibility and personal expression within design. Consistency is crucial for recognisability, but I feel that design should also allow for moments of innovation or unique perspectives that break from the rigid framework. I would adjust the group’s approach to embrace occasional departures from strict consistency, as long as the brand’s core values and essence remain intact. This would allow for more dynamic and creative expressions within the boundaries of a brand identity.

Connecting my practice with society has been especially impactful for me, particularly during the creation of my zine on weaving cultures. Additionally, the class on critical self-reflectivity played a crucial role in my development as a designer, particularly when it came to creating the posters and identity for my Food Festival concept.

In conclusion, reflecting on both the group and personal manifestos has deepened my design philosophy, aligning values such as embracing creativity’s unpredictability, respecting cultural context, and fostering growth. I see the importance of balancing consistency with flexibility to allow personal expression and innovation within a cohesive brand identity. My experience this semester, particularly through creating my zine on weaving cultures and the Singapore Food Festival project, emphasised the value of collaboration and critical self-reflection in refining design choices. Additionally, exploring traditional crafts like Wayang Kulit and Songket weaving helped me connect my work to cultural heritage, highlighting the importance of grounding design in both cultural and physical practices.

Word Count: 460 words

References

Cross, Nigel. Design Thinking: Understanding How Designers Think and Work. Berg Publishers, 2006.

Miller, Laura. Designing Traditions: Craft and Modernity in the Digital Age. University Press, 2019.

Schön, Donald A. The Reflective Practitioner: How Professionals Think in Action. Basic Books, 1983.

Wilson, Nicholas. "Reviving Traditional Crafts Through Contemporary Design." Journal of Design and Culture, vol. 14, no. 2, 2021, pp. 159-173.

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Connecting Practice with Society (CTS-B Wk3)

Although I was unable to attend the class on "Connecting Practice with Society," I had the opportunity to watch the videos my friends created, which creatively explored this theme. . The clever humour highlighted the role of art and design in commenting on social issues, encouraging reflection on current economic challenges in an engaging and thought-provoking way. This video reminded me that design, when done thoughtfully, can move beyond aesthetics to raise awareness and inspire meaningful conversations.

This theme of "Connecting Practice with Society" especially reminded me of my experiences in the module Craft Materiality & Techniques. In this module, I selected weaving as my primary technique and explored how it connects not only with culture but also with community and history.

In recent years, the Sámi people of Sweden have faced increasing pressure from climate change and industrial development, particularly the expansion of mining operations on their ancestral lands. This has prompted a group of Sámi artists to use their work as a form of protest and a way to raise awareness about the threats to their culture and environment.

This connection between design, tradition, and societal responsibility has deepened my understanding of how art and design can do more than just represent the world around us; they can also influence its future. By using design to tell stories of cultural heritage and the urgency of preserving it, I hope to create work that not only celebrates the beauty of traditional arts but also raises critical awareness about the potential consequences of letting these practices die out.

Word Count: 256 words References

Åhlén, Christoffer. "Sámi Artists in Sweden Fight for Ancestral Lands." Adventure, 15 Nov. 2023, www.adventure.com/sami-artists-indigenous-sweden-climate-change-reindeer-photography/.

Baudrillard, Jean. The System of Objects. Verso, 1996.

Friedman, Ken. Design as a Tool for Social Change. The University of Chicago Press, 2009.

Sillman, Charles. Design as a Reflection of Society. MIT Press, 2011.

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Critical Self Reflectivity (CTS-B Wk6)

During our class activity at Sim Lim Square, we identified several design problems related to the confusing layout and cluttered signage in the mall. This exercise highlighted how critical it is to be able to spot design problems in real-world environments. Recognising these issues allows designers to improve user experiences, streamline interactions, and solve real-life frustrations.

This skill is especially important for modules like branding, where I developed Looloolabour, a satirical brand that mocks Lululemon's false ethical practices. Being able to empathise with consumers and define core issues, such as misleading ethical claims, allowed me to craft a brand that humorously critiques these practices while engaging the audience.

Similarly, in studio, where Celest and I are working on an event proposal for the Singapore Food Festival, being able to define and solve design problems is essential for developing concepts that will resonate with festival-goers. This approach ensures our designs are not only creative but functional and impactful for the event's attendees.

For the Singapore Food Festival, where Celest and I have developed two concepts, understanding the design problems ensures that the graphics effectively convey the festival’s theme and purpose. This ensures they communicate key messages to festival-goers in a way that is immediate, visually appealing, and informative. Ultimately, this problem-solving approach allows us to design graphics that are not only beautiful but also improve the user experience, making our work for the Singapore Food Festival more impactful and successful.

An iconic case study that we can all learn from is the rebranding and transformation of Nike's identity in the early 1990s, highlighted by the introduction of the swoosh logo and the 'Just Do It' campaign.

Word count: 275 words

References

Adamson, Glenn. The Satirical Branding Handbook. Routledge, 2015.

Friedman, Ken. Design as a Tool for Social Change. The University of Chicago Press, 2009.

Klein, Naomi. No Logo: Taking Aim at the Brand Bullies. Picador, 2000.

Lawson, Bryan. How Designers Think: The Design Process Demystified. Routledge, 2019.

Norman, Donald A. The Design of Everyday Things. Basic Books, 2013.

Sillman, Charles. Design as a Reflection of Society. MIT Press, 2011.

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Connecting Theory & Practice (CTS-B Wk2)

My design process is spontaneous and energetic, often fueled by bold ideas and quirky twists that bring a whimsical, romanticized layer to my creative thinking. I’m drawn to vibrant, unexpected colour palettes and contemporary, playful elements, reflecting my love for quirky interiors and bold aesthetics. This approach shapes my design choices, leading me to create colourful, dynamic layouts that feel fresh and engaging, much like a good DJ set that keeps the energy high. With an appreciation for rhythm and harmony inspired by my love of pop R&B, I balance my risk-taking spontaneity with a "chill af" mindset, allowing ideas to breathe and evolve naturally.

One iconic designer whose personality and design align perfectly is Paula Scher. Her work often exudes confidence and boldness, traits that are clearly reflective of her fearless, outspoken personality. This unique combination has made her stand out in the design world. As Scher explains, “You can’t be timid in design, you have to own it. If you’re confident in what you’re doing, it shows in the work” (Scher, 2007). This approach inspires me to approach my own work with that same level of conviction and self-assurance.  Just like Paula Scher, I need to learn to channel my strengths into my design with purpose and confidence.

To my advantage, I can lean into my creative risks and vibrant colour palettes to stand out in projects. Furthermore, I can use that spontaneity as a source of focused exploration, balancing creativity with structure to ensure my designs are both dynamic and cohesive.

Word count: 254 words References

Brown, Brené. Daring Greatly: How the Courage to Be Vulnerable Transforms the Way We Live, Love, Parent, and Lead. Gotham Books, 2012.

Erikson, Erik H. Identity: Youth and Crisis. W. W. Norton & Company, 1968.

Heller, Steven. Graphic Design Theory. Princeton Architectural Press, 2008.

Jung, Carl G. Psychological Aspects of the Self. Princeton University Press, 1987.

Scher, Paula. Make It Bigger. Princeton Architectural Press, 2002.

Scher, Paula. Interview by Debbie Millman. How to Think Like a Great Graphic Designer, by Debbie Millman, Allworth Press, 2007, p. 134.