Y3S2 Creative Process Journal

Y3S2 – LASALLE COLLEGE OF THE ARTS The following logistical concerns were raised and addressed as well. 1. To state clearly the objective of the workshop 2. What the end state of the workshop will exist as 3. Time structure of the running of the workshop 4. Confirmation of dates and venues 5. Appropriately sized venues that houses the appropriate strength of attendees 6. Appropriate number of attendees 7. Sign-up forms 8. Lecture slides 9. ‘It helps if I’m reading from a script.’ 10. People around to support, about 2 workshop facilitators 11. Readers for preparing the attendees for the workshop 12. Arranging appropriate team compositions A clarification with Stan also revealed that it may also be argued that some of those who take part in the trial and who are there for the actual can provide feedback on how it may have changed and if the changes are of value. But we want to be selective on who we choose because they will be those who will have to go through two runs of the workshop. 51

CREATIVE PROCESS JOURNAL WEEK 2 – STUDIO CLASS Reflections Key Visual Comments I was also speaking to Stanley to see if there could be improvements made to the key visuals that I had done earlier last weekend. Stan was mentioning the idea that was mentioned last semester as well, that ideally there should be less humans represented because the whole idea of the Anthropocene is because we’re too focused on humans; there is a need for a new hierarchy of order on other beings than humans. I tried out the kv with kangaroos, the only free models I could find that resembled that of the Vitruvian man, but it did not work as the chrome finishing of that of these animals looked visually out of place. I decided to stick to the humans instead but gave it a hue-chromatic finish as a focus instead to imply a more futuristic look, as if cyborgs. There is also a chance to input effects of impacts of Anthropocene with the use of certain treatments to the elements in the KV - thinking about the future with a conceptual slant. I gave it a shot, such as the melting of certain types but collectively it looked too overwhelming and distracting, so in the end I stuck to a distorted bubble (as if a time space that is warped). 52

Y3S2 – LASALLE COLLEGE OF THE ARTS 53 Draft 1.0 Key Visual Draft 2.0 Key Visual Rendition with Kangaroos

CREATIVE PROCESS JOURNAL Week 3,4 – Dissertation Class, Submission 21st January 2020, 29th January 2020 Process and Thoughts: The dissertation class started with a short briefing on dissertation submission requirements, and went straight into a consultation with Stan. There were several comments made in lieu of finalising the dissertation paper, such as accuracy of terms, and clarification of other key definitions. The process of editing then went into finalising the formatting of the paper, this is inclusive of the minus of word count as well as reformatting the paper as per the submission requirements, before I had sent the paper for printing the next day. All in all, as much as I disagree with the formatting of the paper given that Avenir is a font that is hard to read in print and font size 12 is made for grandma’s, I acknowledge that such a system has already been put in place since some time ago, and I’d rather not disrupt the system just because I don’t agree with such a typographic style. p erspecPtievrehsawpsh,esnDoirmnaetfhttiemd1ee.ss0iitgniKsineagylspoVrgoiocsoeudsastl:ospysuttesmucshare put in place for a reason, disruption should only occur if some good or value-addedness is taken away from it. If not, I realised that it is what it is, and that sometimes it’s okay to 54

Y3S2 – LASALLE COLLEGE OF THE ARTS be less obstinate about things: not all things are, or can be perfect, as much as our idealism pushes us to wish for such. Nonetheless, I was glad that the dissertation paper was finally submitted in a piece that I can call and be proud of. There are further non-firm plans to take the paper to platforms like Academia and ResearchGate, but we’ll see how the comments from the dissertation goes after it’s been marked to see whether it is of value to be published anyway. It definitely feels a lot lighter now, my brain; one less thing to be anxious about. Minusing Wordcount 55

CREATIVE PROCESS JOURNAL Week 3, 4 – Studio Preparatory Work 23rd January 2020 – 30th January 2020 Missing Studio Class – Preparatory Time I had missed the Studio Class because I had a migraine, that is subtext. The pretext was that the sessions felt a little mundane after a while, and I felt that I wasn’t really benefitting much from it, now that I’ve presented. However, that is not to say that it won’t benefit others who haven’t had the chance or courage to go up to present, for I feel that that would be the most invaluable type of input that would garner the most productive comments from our peers; it just didn’t apply to me because I felt that I was at the next step, and I was using that time to churn out designed materials, as discussed with Stan, instead. hhh 56

Y3S2 – LASALLE COLLEGE OF THE ARTS I had used the studio time to design the following materials, as well as craft for a workable timeline to abide to. 1. Finished editing KV as per Stan’s comments 2. Design workshop presentation slides 3. Design for the project manifesto 4. Export the FA for the workshop visual aids 5. Design for the workshop flyers 6. Prep the FA for the tiled poster to be placed at the BA2 studios 7. Design for the scheduling poster to be placed outside the workshop venue I had also used the rest of the day and week to further work out workshop parameters, such as venues and attendance, and create Google signup forms to be released when ready. I also emailed Stan to seek help on the parameters on how to establish the questions that I’d ask in feedback forms for pre- and post- workshop, such that I get an understanding on the attendees’ growth and interest before and after the workshop. I had also spend the time in week leading up to the next studio session test printing my designs, to make sure they are in the appropriate format. 57

CREATIVE PROCESS JOURNAL Testing-Out 29th January 2020, Prints Wednesday Hasty schedule Key Visual Test-print test-prints Flyer Format 1 58

Y3S2 – LASALLE COLLEGE OF THE ARTS Mock-up of Flyer Format 2 Shading area that will be shown when folded When printed and scored on normal paper When scored and folded Visible scoreline lesions *Preferred version, but* choose different paper Actual Print 59

CREATIVE PROCESS JOURNAL Testing-Out Prints TEST TE TEST TE TEST TE TEST TE TEST TE TEST TE 60

Y3S2 – LASALLE COLLEGE OF THE ARTS 29th January 2020, Wednesday ST TEST ST TEST ST TEST ST TEST ST TEST ST TEST 61

CREATIVE PROCESS JOURNAL WEEK 3, 4 – STUDIO PREPARATORY WORK Reflections The studio class (Week 4) began with the mass critique session again, this time in which I attended because 1) there was a briefing on adhoc classes/clinics and 2) I felt that the closing critique session would be the last time to help peers who may be struggling with their ideas, as well as my own chances to consult for help with regards to my own work and design. I will talk a little about the comments Jos and Mimi had given me (Stan was unwell *SEE PUN*) first, before talking about some of my thoughts with the mass critique session. 62

Y3S2 – LASALLE COLLEGE OF THE ARTS Feedback – Jos felt that the diagonal folds for the event flyer was interesting: the diagonals felt obscure, unconventional and futuristic. However, the apparent scoring and folding led to unavoidable fibres poking out of the paper. Jos suggested doing away with the holographic paper (since it is coated) and instead use an uncoated paper with an off grey background to simulate the matte quality of the poster. Jos also suggested that the the information within the schedule print be limited to key information, so that the reader will be noted of the event structure and not be overwhelmed by the large body of text (such can be put in the workshop handouts). She also suggested adding a map of the exact location of the workshop. Mimi felt that the clipboard idea for the manifesto is okay, given that it aligns with that of the proposed Investigative Bureau. However, Jos felt that the wooden treatment for the board wasn’t edgy/futuristic enough, and that the paper should be in a dimension where it is different from that of the board. I hence went onto Lazada to purchase golden metal clipboard of two variants, but found that they would arrive later than the week 5 check in. I thus went to Shopee to contact a local retailer and purchased the clipboards in person so that I didn’t have to wait for the shipping which was 2 weeks after the week 5 checkin. 63

CREATIVE PROCESS JOURNAL Week 4 – Studio Class – Mass Critique Session 30th January 2020 Students were selected to talk about their work, elaborating on their sketches and intended pathways for semester 2. Some of the students had some drafts of designed artefacts; a move from the previous weeks. Recorded are some of my notes that were taken during the session. 1. Melissa: - help in communication between foreign domestic workers and homemakers - application driven, but phone causes reliance and lack of doing duties - format of an app (?), but should consider if it should exists as a game or a reward learning portal - physical teaching may take too much time; chore app - need to consider what facilitates the communication between the employee and the employee - need to consider the human factor in the relationship instead of a plain app, addressing the common mistrust between workers and employers - need to be centric about the research focus, and what is the value-addedness to the issue 64

Y3S2 – LASALLE COLLEGE OF THE ARTS 2. Justin: - on data privacy, encouraging data protection as we are always online data submitting data to someone - to communicate harsh reality of privacy in data collection - a campaign, with publicity materials in the form of 3D interactive objects - a need to consider the right target audience and specificity in target audience - to think about working with local organisations on data protection, and plan something different than what is already in place - too broad a topic, to think about a specific problem that the target audience faces and treat it specifically - a need to follow through and think whether even a campaign is applicable - the outcome must also be relatable to the target audience and be the right medium in addressing the brief 3. Zaki: - Yokai, supernatural entities from Japan, considering the disconnect between 18th century old Yokai vs contemporary Yokai as popularised by pop culture - Disconnect because when localised, they are suited and represented otherwise which deviates from the original versions of Yokai - project is more relatable to people who want to realise authentic Yokai, might have to be situated in Japan for the project to take ground fully - initiative is a game so that one can discover about authentic Yokai at your own pace: hide-and-seek idea, 65

CREATIVE PROCESS JOURNAL WEEK 4 – STUDIO CLASS Mass Critique simple gameplay allows for a more accessible narrative - Target audience is 17-25 year olds, as the idea of Yokai appeals to them most - however, there is a need to consider why would the Japanese care, since it’s foreign fatal - also an inherent need to go deeper than a game 4. Vanessa Tan: - about body image, self cautious female teenagers, especially so when they undergo puberty, when they are afraid of people judging them and making them self-conscious - this leads to eating disorders, because of the judging and beauty standards - Vanessa thinks that since we can’t control people from judging, we can change the mindset of female teenagers, encouraging body positivity, a concept known to America and relatively new to Asia, to female teenagers in Singapore - I felt that there isn’t a need for a strict campaign with standard collaterals, it could very well be participatory. - I quoted SoulPancake, a social media collective encouraging positivity in life as a reference, where they did a series of videos where people were invited, faced back to back, and talked about themselves without knowing of the other’s details, and when they finally revealed their identities they were pleasantly surprised about how different they had pictured them 66

Y3S2 – LASALLE COLLEGE OF THE ARTS ccording to the other’s description. In a similar way, Vanessa could hitch on this and take it to be about body positivity for a more impactful outcome 5. Yashika - about the impact of animal consumption culture, environmentalist ideals in India - considering the impacts of climate and land used to rear such wildlife - A need for a more focused subject matter, such as saving sharks or stop poaching wildlife, or stop eating beef - the target audience of 15-35 year old was an age gap too wide, and most of them do not read intense comic books anymore - the methods to editing the comic needs to be conscious and purposeful, with hooking taglines that will work and attract the attention of the target audiences - when asked to the crowd if any of us (residing within the target audience) read comic books pertaining to climate change, none of us raised our hands. Instead the references of comic strips on Instagram and social media platforms were brought up. These accounts always had a knack to them; similarly Yashika’s initiative needs to be bold in terms of quirk, copy and artistic direction 67

CREATIVE PROCESS JOURNAL WEEK 4 – STUDIO CLASS Mass Critique 6. Adil - on material exploration with post-consumer waste from the zero waste masterplan, specifically on plastic bags, as 3 main waste streams are filling up the Semakau landfills - plastic bags as upcycling is a good initiative because it is of a daily necessity - to epicycle plastic bags, but targeting it at up cycling practitioners only - there is potential to explore the process of the materials other than archiving of the process via fusing them with heat - last year Nat also carried out an upcycling project on metal waste, but she opened up the process to that of a workshop so that it involved people who were not just practitioners but also passionate about upcycling, which could be an alternative to widening the mass appeal of the project 7. Weilin - on healthy online consumer practice - millennials from 20-30 years old tend to be ore impulsive buyers - initial app was to create an app to prevent impulse buying, but plugins have already been invented to do such - Weilin proposed for a collection of impulse items, sorted by types of impulse buying (peer, planned, suggested, reminded), in the form of an exhibition - in the process of identifying impulse buy products, 68

Y3S2 – LASALLE COLLEGE OF THE ARTS - I felt that documenting the process could be used as part of the collaterals. - The show could also be an invitation to family members who know of their impulse buying habits to make controversial and impactful of such attempts to rectify such behaviour. The archiving of items on websites could also be a possibility. - it was also later proposed by other peers and lecturers that the reach of the project, if led creatively, could be of a larger appeal to the masses. Inviting people to submit and document their impulse buys with photographs and short stories about the buy could also be done to make the project more nuanced. 69

CREATIVE PROCESS JOURNAL WEEK 4 – STUDIO CLASS Reflections Adhoc Classes If given more time, I had really wanted to attend all three of the workshops. These are invaluable skills that don’t come by easy and should be appreciated and treasured by students like us. However, because of time constraints, I have decided to attend both Gideon’s class and Kelvin’s class. Gideon’s class do not come by easy as well, especially in Singapore where design education events are led either controlled within campuses or are paid events otherwise capitalised for its profits by external organisations. It was also by chance that Gideon had two batches to his classes, meaning students, like me, could sign up for his class in the earlier semester and Kelvin’s Wix class after. It is an opportunity for me to grow as a designer, and definitely allow me to hone my skills and skillsets further. On Mass Critique Sessions The last mass critique session before the Week 5 check in was definitely the apex of the entire mass critique initiative. People were more accustomed to openly sharing and providing constructive criticism this time round. It was heartening to see people slowly open up and be brave as well. I think that this is actually a really good lead to similar initiatives such as the roundtable that will be in place of the dissertation class. This open forum allows us to be aligned with the sharing and fluid nature of what I feel design is supposed to be, not of that of isolation or segregation, but of bringing people together cohesively to plan for better futures. 70

Y3S2 – LASALLE COLLEGE OF THE ARTS CVOIRvIUDS-19 Thoughts on the Current Situation Honestly speaking, I am quite lost as to how to feel about the whole situation is ongoing about the whole of the planet. The cause of the virus, starting from human erring on wrong diets, is honestly not a really wise reason to be punishable for, as much as confounding it is (this excludes the other conspiracy theories about American biowarfare as well as the outbreak of the virus from Wuhan’s Virus Control Center). I have been feeling all sorts of uneasiness the moment the news got started, and it only seemed to get worse with each day, with new cases reported locally daily, with no current cure to the illness. News about other unpleasant happenings that have been going on have been quite detrimental to the well-being of the entire civilisation as well. As much as I am worried for the simpler things like 71 health and being in a good state-of-mind to mentally be ready for the next thing that might happen, I can’t help but picture a really bad time (in the pursuit of the DC course) when the open-studio and the gradshow may be cancelled. It would feel like a great demeaning of our work, I would actually imagine myself to feeling quite disappointed - as much as I understand that well-being and safety of everyone is much important above all. I can’t help thinking about this, but I can only trust in myself for now, that I continue to turn up each day to try and try and try - what happens next I can’t predict.

CREATIVE PROCESS JOURNAL OIPNCRMonday, 3th February 2020, Week 5 72

Y3S2 – LASALLE COLLEGE OF THE ARTS When Troubles Come, they Exist in Anxiety I’ve had a consultation with Stan, and as I’m writing Cthis, I feel the exact same tulmultuous emotions as I had felt during the session: that perhaps it wasn’t very insightful for ANme to have proceeded with the running of a workshop without considering the applicability and the clarity of the exercises. It felt like there was suddenly a huge crack in the core of my project, mainly the exercises’ rigour and structure, that I had to fix in order to keep this going. This is especially so for that I have planned for the trial to happen the next week. It felt like I had too many things ONLto do with too little time. Eventually I called Stanley after a Y1-hour meldown to discuss things, and we decided for the trial to be postponed to Week 6 - only to find that career fest is happening on Week 6; we then again pushed it back again to Week 7, and that is pretty much affirmed a date. (RN, the career fest has been cancelled and honestly I am all HMMMMMMMMMMMMPHF about it). However, I am really glad to have mini support systems to maintain sanity while doing this final year project. RAYSpeaking to Joe and Stan and other friends in the ministry, and having other smaller and positive forms of distractions like the Book Research workshop lets me breathe, even just for a little bit, before turning back to the hustle of the everyday in this final leg. 73

CREATIVE PROCESS JOURNAL Monday, 3th February 2020, Week 5 – Consultation–Design Decisions Deciding CPJ binding format: Reason - unconventional and aligns with the nature of the projects I’m dealing with, which are more often than not, specific with aesthetic types. 74

Y3S2 – LASALLE COLLEGE OF THE ARTS Deciding Manifesto format: At first I was mistaken about what a manifesto should be. Atfer checking in with Stan about the manifesto formats that I have ideated for, it became apparent that it was not what I had thought for. A manifesto should be an outward declaration of an ideal that a collective body should have. And instead it should exist in a poignant and succinct manner - the format of a ‘dictatorial’ form may not then work as it may exist more as a dossier than anything else. 75

CREATIVE PROCESS JOURNAL Week 5 – Consultation–Design Decisions Deciding Handouts format: I have initially planned for a ‘clipboard’ to illustrate the ‘findings of the Investigative Bureau’, but was later informed by Stan that there is actually no need to establish a strong narrative to bind the research like we did in Semester 1, as it is more pertinent to present the findings instead that we have uncovered in Semester 2 than anything else. 76

Y3S2 – LASALLE COLLEGE OF THE ARTS Monday, 3th February 2020, Week 5 – Consultation–Design Decisions Deciding Handout format: Stan looked through the design of my contents, both slides and exercise structure, and revised them with me during the consultation to make sure that clarity is conveyed in them. Stan also suggested that the exercises, instead of ‘bombarding’ the participants with an ocean of information, that they be broken down into simple instrcutions of one key instructional sentence instead. Stan also advised for them to be conveyed into formats of worksheets that will only be given out to the participants with the instance of each exercise so as to not overwhelm them. 77

CREATIVE PROCESS JOURNAL Week 5 – Logistical Processes 78

Y3S2 – LASALLE COLLEGE OF THE ARTS Planning out logistical processes: Initially, it was really challenging figuring out a place to start even - the fact that running workshops was something new to me befuddled me and my work progress in abit. I did not know a single thing to do until I clarified with Stan, and he highlighted the few things that I need to first grab hold of. These began with workshop parameters, objectives, more formal issues like venues, participants and workshop size. Later on, I adapted the form of a schedule to work with as I had done in Semester 1 just to help with the process of checking in and making progress bit by bit. This time round, keeping in tune with the schedule was something that was harder than last semester. This came especially so when this period was after the long break, and trying to adapt to the fast pace of working was a trying process. It got to the point of my breakdown as earlier established, before I really gave myself time to recuperate in a sense and try to be in the right frame of mind and right pace of working all over again, to be confident in the work that I do again. This was when I really really resoated with Ira Glass’ quote all over again. A deep chat with a close friend revealed that she had felt the same too, that it is perhaps somewhat treacherous a journey for creatives to have to go through iteratively and continually. The knack here is to try every single day, to not give up trying, because it is when we try, even with the smallest steps, that sparks of ideas ignite subconsciously when we give it the time and opportunity to do so. 79

CREATIVE PROCESS JOURNAL Week 5 – Design Decisions – Moving On Deciding Handout format: I had then sketched out the various features of suggestions to include in the worksheets that will be used in the workshop. Each of these bears in mind that instructions have to be direct, clear and succinct. Each of these worksheet’s art direction is to be simple, clear, and uses a spectrum of colours that would colour code each specific exercise. The sketch below shows the assigning of sizes that the worksheets will take on, and the combined sketch on the next page is ideating how the worksheets would work in terms of layouts. 80

Y3S2 – LASALLE COLLEGE OF THE ARTS 81

CREATIVE PROCESS JOURNAL Week 5 – Adhoc Class – Book Research 3rd February 2020 The workshop began with an introduction. It is an active exercise in thinking about the book as a format and medium. The aim of the workshop is tagged with the elimination of the worry of grades in order to faciliate teaching as learning and exploring premises together. In it we explore samples of works, videos of books, and implore action and the application of making. There is an inherent need to do so as there is a lack of consideration of a book as a form of experimentation and representation. This implores using the book as a means to put things together and embody ideas in the form of experience, action and performance in books. The workshop thus goes through several themes – self-publishing, independent publishing, artist books, designer as author (graphic authorship) and the field of design research consequently. 82

Y3S2 – LASALLE COLLEGE OF THE ARTS We first looked at a video by Abake: - looked at publications that could potentially manifest as exhibition works - selection of books are non- conventional: pure documentation, form or a tool - to think about what a book can be instead of what it originally is Quotes picked up from the Video: - “… in regards to an audience or a white cube… A really perfectly tautological book: its content is exactly what the book is.” - “could be displayed on a wall…” - “so that as an exhibit it is also used and will keep the trace of the exhibition” - “A book that is a collection of one’s heritage” - “I would say that it logically calls for being on the wall… especially because it doesn’t hide anything.” - “My suggestion is that it is placed next to a photocopier where it’s suggested that anyone can copy it for free.” - “You can pick it up…. that a workshop can contain.” - “A book is incredibly long to make.” - “To exhibit what is missing…” - “… it should be on the wall and not folded” - “Displayed at eye level, then you have the sculptural effect.. the direct gaze” - “… can all be scanned and become an animation” 83

CREATIVE PROCESS JOURNAL WEEK 5 – ADHOC CLASS Book Research Exercise One: A. What is a book? (One liner response) “There’s something that draws me in.”: A narrative, something to say, and something that is an outward expression from an inward place; there’s a means of wanting to achieve an impact. B. What can be a book contain? (One liner response) “its content is exactly what the book is.”: It means that the narrative made up by the autonomy of the designer, the writer, or via the constraints of the brief, again anchoring the idea of having an outward expression from an inward place. C. What can a book be? A book as a shape shifter, a book as a vessel, a book as an emotion. Notes: - Format of the book adds meaning to the publication - The design of the act can be self sufficient and interesting in itself - The book as a repository of design ideas - Making a conceptual set of rules before the design unfold 84

Y3S2 – LASALLE COLLEGE OF THE ARTS Exercise Two: A. What do you understand (about the book)? About simplicity, utility and honesty; down-to-earth format “Shaker communities were largely self-sufficient: in their attempt to separate themselves from the outside world and to create a heaven-on-earth, members grew their own food, constructed their own buildings, and manufactured their own tools and household furnishings.” B. What don’t you understand about the book? The notion of rewriting footnotes to a manual of Shaker Furniture in a poetry format; confusion if the are real footnotes or are they really poetry in a response to such furniture Notes: ‘form as a way of thinking’ in its most skeletal and pedantic sense describes the process of manipulating sensory matter – whether verbal or graphic – by juxtaposing, connecting or configuring already existing ideas with a view to generating new ones 85

CREATIVE PROCESS JOURNAL Week 5 – Studio Class – Break into Groups 6th February 2020 The studio class began with a briefing on the agenda for the class. We were to go through group discussions breaken up into 2 groups, then having Adjunct Prof. Hong Ko to speak about his field of work before having a cohort wide crit by Hong Ko with four individuals from each class. There was a short briefing on the graduation show committee that it would exist in the mode of an open call. We then proceeded with the group discussions. In the breakout into groups, we are to clarify the entry point to each of our studio research and have a group discussion to help facilitate so. There is a need to be clear about what the outcome is for, and for the discussion to be centered around its purpose, thereby facilitating the thought of thinking about the next thing that needs to be done. Not everyone had the chance to present, but these were the notes from those who did. 86

Y3S2 – LASALLE COLLEGE OF THE ARTS Wynn 87 - Stanley mentioned about ‘Participatory work’, are you still doing that? - Focus on everyone and not just a specific group of people - Draw themselves as a character, express their hopes and dreams and support. Have a space for them to have a conversation - Having a community that people provide resources, teach them the tools and - Noah: The first glance of the project needs to have some sort of pretext so people know of your initiative. - TQ: Question is, what happens after the workshop? - Stanley: Part of the workshop starts from introspective is fine, might require you to talk to people who have talked to mental issue patients. How might you change the campaign? It might give them a sense of power, see if it resonates with the other people/ co- creating something together. - How can we talk about mental health that has not been talked about now? - Noah: Repository can create log in to a website, they can say what they are feeling right now and it will then generate whatever that they should do. The website is an intervention, however it requires the workshop to work first as you need the database. The website becomes a beacon of support for them; Have a goal, co design a system for them that offers support and ask them what kind of support that they need? - Stanley: the objective here is not to let people who don’t know mental to learn about mental health its about how we can build a support system. Find out the types of support they desire.

CREATIVE PROCESS JOURNAL WEEK 5 – STUDIO CLASS Group Discussion Shaou Huay - SH realise that there is a gap, for example money transferring issues- Seniors can’t attend the class because of time, - Instructional design: Learning about the learning experience? If i cant do a good learning experience, how can I support the learning experience? - Advocate(Which is her next deliverable): Option 1: COnduct a survey/case study to know what the seniors . Book is not accessible to designers; caricature for designers, to know the learning needs for the seniors - Most elderly are curious and aware of the digital payment landscape - Good thing is they are curious; Transferring issues are very sensitive - What they want is hands-on classes, but is what most training classes couldn’t provide - Need to understand their needs, crafting instructions for each and every person - As a student designer, what is her role in support the training ‘Fake’ cashless payment platform - just numbers: Replicates pay now but its just numbers - K: If they dummy app is based off apps like paynow it could change very quickly. Learning is not about howto use one app, but to learn the whole idea of cashless payment. General knowledge . example: scan to pay. SH: Cognitive learning they need the condition to be exactly the same. K: They must know that this change, it has to be similar SH: Based on conversations, the seniors, after the lessons need an app to refer to. 88

Y3S2 – LASALLE COLLEGE OF THE ARTS Stan: We won;t know that this might succeed. This might seem daunting, they might not know. You said that they are curious, what they want to do first is to transfer money money to kids and spouse, you can’t unlock to the next stage until u succeed doing the basic thing. The learning curve for some might be too steep, but if you have this, then it might help. But some might say that this is impede the progress, so u need to find the balance maybe 2-3 trials. Propose this DBS/banks, just put it out. But go it with a plan K: It is more realistic for DBS to do the interface for the elderly, more of simplifying rather than creating a new app. Maybe start one is a simple one then simplify it. Keith - Problem: There are 2 main problems, raise the value, raise the appreciation for such things. Sg wants to create a loveable city. That is what the idea of what a creative city is. They still don’t know what loveable means even after 5 years. 2 areas to tackle: 1 - raise the appreciation of creativity in sg. 2 - tackle the loveable city idea. - AR driven design: scanning with camera to go around the city - Lovable city: People will embrace design, think that the city is meaningful and precious to me, i love being in Singapore so much that ‘I make stuff’ out of it - SH: Challenging what is lovable: Help DCS define what lovable is dependent on surveys with the audience: might be interesting as the interactions in the interviews were fun; However might be a take by designer students on what lovable is 89

CREATIVE PROCESS JOURNAL WEEK 5 – STUDIO CLASS Group Discussion Keith (continued) - Intent of project - want people to reimagine a creative or lovable city would look like; people who interact with whatever that is ideated to be able to do so and capture that imagination - TQ: Documentary (?) - Noah: Literal google map, someone pinned places of where creative spots are. Discussions need to happen in a way, not sure if its a forum or website. It has to be interactive. - Wyn: Interactive installation, - Why must we enforce a single definition to creativity? Personal stories can come in handy., why it becomes this way - SH: Create a competition to see pattern of what they think a loveable city is; Portraying both ends; 1 meaning making in the city. 2 reimagine what it could be - WYN: Create a whole database, of what loveable is - Meaning making by citizens; Vs Reimagining : ‘We could have more of this’; Intervention from self vs intervention from ‘higher order’ TingQuan - School sessions: two parts - 1: sharing/discussion sessions: to initiate conversations between the participants, student led but happens in the school; discussion topics - anything related to design, to introduce a reader: 90

Y3S2 – LASALLE COLLEGE OF THE ARTS ties in to the idea of observing design from the Quotidian (the everyday) - There will be exercises based on the Quotidian, found conversations can be found from the city. Class that I’m running (Not sure about the timing) - It will be student led, particular student has a topic of the day, actually quite difficult, the topic becomes disconnected, it becomes topic centric. - Refocus everything more Quotidian. Bring some sense into their own project, that’s the anchor point. - K: I think workshop quite difficult, the premise must be very clear, a clear objective. - Every week, even tho the topic changes but its connected to the daily lives, show that it relates to every daily life. - Think about the mechanism of the class that is captured, link it to everyday class. - Objective should be clear, it has to be beneficial. It;s a more handson project, like the worksheet exercise thing. It will be reflective. - What needs to be clear is what you want to get out of it - Having a more tangible outcome in classes, helps to be reflective; Disconnect in topic Becomes very centred towards a student’s project. 91

CREATIVE PROCESS JOURNAL WEEK 5 – STUDIO CLASS Group Discussion Noah Collaterals shown: 1. Workshop visual aid: Diagram blown up in A0/A1 2. Flyers folded in a format in an unconventional manner 3. Sculptural poster: The poster will go along the sculpture, blown up in size A0/A1 (for BA 1 and 2) 4. Will be preparing for the slide presentation Comments/suggestions: A. Visually disconnected - The document is a bit muted as compared to the poster and the sculptural poster. Have section breaks. Stanley is not really concerned about the art direction for now as it might change again later but what is more important is the content of how the exercises might work. B. As long as you have an anchor concept, it is fine. It does not necessarily be obvious (as in people get it the first time they look about it). Stanley mentioned that your art direction is a bit multilayered, it becomes a bit complex. C.Stanley suggests that you run the trial first, you might realise things during the trial session that might make you change the art direction. 92

Y3S2 – LASALLE COLLEGE OF THE ARTS WEEK 5 – STUDIO CLASS Prof. Hong Ko – Sharing Prof. Hong Ko - Graduated from SVA (School of Visual Arts, NYC) - Won the Cannes Lion Award - Branding/Technology Centric - Worked on projects spanning from branding, product, service design, to digital and interactive - Worked with R/GA, Wieden+Kennedy, I&Co - Started with xperimenting with Mass Media and Infographics - Humility as a key factor in helping with advancement - Considering the applicability of traditional design mediums onto contemporary mediums like user experience (e.g. readability of font sizes) to advertising (narrating stories) - Commented that finding the right source to channel creativity with ultimate originality is hard, but more importantly there’s a need to consider the factor of how to ascertain and convince the client and ‘our’ capability of fulfilling their briefs - From print to display, from more of what people will to to what message people will experience via communication and interaction 93

CREATIVE PROCESS JOURNAL WEEK 5 – STUDIO CLASS Prof. Hong Ko – Mass Critique The session then proceeded to a series of critique of four students by Prof. Hong. 1. Adriel - working on cinematography in the for of a workshop targeted at amateur film-makers - currently using a website to contain the body of information regarding the workshop and as an open source Hong comments: - that there is no guarantee that the person is going to attend the workshop purely by instagram or email, and enough trust on their end to want to attend - there is an intrinsic need to think about how to entice the audience, be it through strategies, going straight to the target audience or soft-selling approaches; the Google form might be an easy way to get participant’s information but it might not be the most engaging 2. Elma - targeting on Alzheimer’s in Yogya, where there is the misconception of Alzheimer’s as part of an aging process or disturbed by spirits (absurdity resides within) - aims: a) supprt caregivers b) raise awareness - to use beliefs to illustrate and visualise that on the patients using faimliar forms of characters in 94

Y3S2 – LASALLE COLLEGE OF THE ARTS Javanese culture - have a website of caregivers’ journey and helplines or a kit on more places Hong comments: - it is currently too large a subject to target - is there even a need for a raise in awareness - what you can do as the best strategy 3. Shaou Huay - on cashless payment lanscape in Singapore - promoting for a cashless society where majority of the older generation are suffering from this inconvenience, especially the ‘boomers’ - identified that they are not picking up the technologies because of the lack of digitial awareness not used by old people and how design can intervent - bridging the learning gap as it is currently not aligned to their needs - using instructional design for practical means of a cashless payment, such as an app for trainers to guide seniors - having a supporting app - dummy app for training cashless payment, that is easy to use an is illustrative in instructions Hong’s Comments: - in China, laws are enforced where if the people do not use Wechat for payments it’ll result in fines - there is a need to figure out the real reasons behind the old people not using tech in finances even though they are tech-savvy - may be able to take it to speculative scene as an awareness/starting point 95

CREATIVE PROCESS JOURNAL WEEK 5 – STUDIO CLASS Prof. Hong Ko – Mass Critique 4. Alice - working on products as counterfeit that disrupts the economy - Shanzhai - involves tweaking products - a project to raise awareness as the phenomena is disappearing - a platform for manufacturers to raise their voice as innovative models in the economic ecosystems - websites Hong comments: - Why websites? How to lead interested parties to the websites? - The project seems to be chamioning for that counterfeiting is okay, but perhaps what needs to be looked at regarding the topic is instead its speed of evolution and efficiency of working - quick means of thinking and learning by ‘counterfeiting’ 96

Y3S2 – LASALLE COLLEGE OF THE ARTS WEEK 5 – ALL CLASSES Reflections In all honesty, this was perhaps one of the more tougher weeks that I have faced in the entire of the LASALLE education journey. First there was news of the virus perpetuating and getting worse, then bad news resounding from all around the world, the possibility of the graduation show being cancelled, the tight deadlines that almost seemed to be suffocating me until they were pushed further, and the always unsettling sense of anxiety and uncertainty that is all around all the time. However, it is also in these periods that I’ve learnt to probably let go, especially of things posited in the future that I have no control over. Perhaps it’s human nature and within our capability to set sights on what is most important first. Worrying plainly about the future, as much as we can say ‘should be the thing to avoid’, is not an easy task while we try to enslave our current work processes and not think about the final outcome even before something concrete has been produced. There are also a lot of self-doubt that is going on within me, and I feel like with that, journalling in these formats like the CPJs help to sort out my emotions. That said, the week was also *tumultuous* in the amount of work that needs to be done and has been done that is awaiting improvement. This has been the toughest and most crazy week since last semester, but I’m glad I’m moving on and in a better state of mind than before. Looking back, I wouldn’t have made this amount of progress if not for slaving hard and making sure visuals and content work congruently. Press on, Noah. 97

CREATIVE PROCESS JOURNAL Week 6 – Adhoc Class: Book Research 10th February 2020 The previous lesson covered on what books can be and exist as. This lesson started out with looking at Korean duo Sulki and Min, part of a larger group of South Korean designers that reside across the world, who wanted to experiment with things in books that were not possible in Korea at that point in time. 1. Insights 2016:: Sulki and Min Choi, Seoul Sasa (44) annual reports - to present things in a different form each year - poking fun at graphic design - not much budget in the production Why do they do that? - local significance - the content as secondary - simplest form of data collection: life as a much more complex version of the reports - the formal aspect of the project that matters rather than the content - malfunctions in communications 98

Y3S2 – LASALLE COLLEGE OF THE ARTS We then think about - What does a book do? A book as an action, the book as an active object, something that we can bring around, something that we can exchange) In one extreme, The book as a critically provoking object In the other, the book serves as a malfunction in communication. What forms can a book take? A book can take the form of an artistic vs a functional expression. (Small nuances like tilting off the pages can simulate performative notions that are tied to the intention of artistic expressions.) (A book as a therapy for life) 2. Performative Books What does book design make us do in reflection? Navigating through pages with the use of purposed iconography The book can serve as a therapy on life The form of a book be critically provoking - reference: Theseus Chan The book is thus not exactly a functional piece of work; the treatment is the designers’ artist statement - maybe it will always reside within a grey area but maybe it doesn’t matter that it does - the value is not in the final project but the value is in the idea and its format 99

CREATIVE PROCESS JOURNAL WEEK 6 – ADHOC CLASS Book Research We then looked at HARDY PERENNIALS by Stuart Bailey. There exists a symbiotic relationship between form and content - ‘Imposter’ relationship - approaching design in an honest way; giving form honestly as a response to achieving a symbiotic relationship between form and content “it’s *equivocal* in the sense of being non-specific; the same style could be readily applied to different instances, as a clip-on part” “on the other hand, would correspond to that sense of inevitability I mentioned earlier: conclusive, plausible” - plausible and makes sense, hard to imagine otherwise Orientation of images be a way to design hierarchy (imagine ‘When Worlds Collide’ by Zhao Renhui) 100