Common Module - AY23.24 CTS B Question 2:

My journey in the field of design has been a dynamic and evolving one. Initially, I embarked on the path of product design, drawn by my fascination with creating accessories and outerwear. I found more fulfilment in shaping these elements than in designing furniture, especially for children. My motivation was rooted in the evolving landscape of Vietnam, a country experiencing rapid development. I aspired to make an impact on the younger generation, to offer children the care and products they deserve. In this endeavour, I aimed to employ sustainable materials and steer clear of toxic substances like plastic and harmful dyes, touching upon both social and cultural issues.

As I reflect on my origins in design, I realise that this was merely the starting point of a more profound journey. My time studying in Vietnam allowed me to uncover my unique perspective—my affinity for images rather than structures. This realisation laid the groundwork for a vision that I hope to realise in the future. The prospect of contributing more to the world of design, perhaps through collaborations with friends and connections, especially when I am financially secure, fuels my ambitions.

For now, my focus remains on personal and professional development in a field I'm passionate about. My essence is a blend of the vibrant culture and dynamism of a burgeoning Vietnam and the distinctly Asian influences I've absorbed while studying and working in Singapore. I'm currently pursuing a degree in communication, a field I perceive as an expansive ocean with countless avenues to explore. At this stage, I'm still in the process of identifying where my true passion lies. However, I firmly believe that you can't truly understand or choose your path unless you explore the possibilities.

To this end, I've actively sought opportunities to gain hands-on experience. I've interned with the fashion media department at a jewellery company and taken on freelance graphic branding projects for agencies in Singapore. And I'm open to the possibility of venturing into UI/UX design in the future. I've come to understand that every journey requires personal experiences and testing to arrive at a meaningful conclusion. There's no substitute for the lessons learned through practical work, and it's through these experiences that I've discovered my own strengths and areas for growth. The journey of a design student is one of continual development, a process of learning and adapting each day. My time at CTS has been transformative in opening up my self-reflective abilities, and it has proved to be much more than just an academic subject—it's the key to unlocking my own potential and fostering a sense of camaraderie and shared growth among my fellow students. For me, CTS is not just a subject; it's a gateway to self-discovery and a world of possibilities. ( journey of self-discovery and spiritual healing.)

(467 words )

#ctsb#creative#journal

Common Module - AY23.24 CTS B Question 1:

CTS B class has given me many opportunities to interact with other aspects of Art, through searching, exchanging, practising and criticising activities as well as useful individual and group activities. , has helped me clearly understand myself and the paths and goals I want to aim for.

Week 9's activity let me know that I want to become someone who works with design and art through our group work photo. And when I do the manifesto group, I want it to not be a whiteboard with all the right things available and written in order. I think it's like a travel diary about understanding yourself and others with art. This is a colour palette that is combined and shared by each person. I do not wish to change anything about this palette. “MAKE smART choice in YOUR LIFE” Like weeks 1 and 3, we learned the connection between life and society and art, as well as how we see ourselves when creating.“NO RULE to CREATIVE” is like the way I studied and worked in week 9 without limits and constraints without denying the most basic knowledge of art principles. “Fine magic in the mess” I choose the things that popped into my head immediately when looking at our board. The cohesion and working together is the magic of teamwork, reminds me of the 3rd week of school when we It's really important to understand and communicate from different people to different pieces of the puzzle and create something new.Just as there are no rules for creativity and each person's characteristics are unique. To agree with a groupmate about "we design useful thing" when understanding that using people as the centre of society is the environment in which art develops like User-centred design prioritises the needs and experiences of the end user. This manifesto advocates empathy, usability testing, and iterative design. Above all, self-reflection.As well as I try to expand my research and learn more (Norman, Donald A. "The Design of Everyday Things." Basic Books, 2013.) and the last thing is Design manifesto that focuses on graphic design. It emphasises the importance of simplicity, order, and timelessness in design. Principles cover typography, grids, and colour, making it a valuable resource for graphic designers.The most basic things are always reminded a lot by teachers. However, I recommend reading Vignelli, Massimo. "The Vignelli Canon." Lars Müller Publishers, 2009.

I thought I was very good until I started to change. It seemed difficult, but learning, developing and absorbing in the CTSB class really formed new, strong and solid values ​​within me. During the path where I was confused and confused with the question "Who am I, and what do I want to do?" I had the answer.

(456 words)

reference MLA style :

Deifel, Nicolas, et al. "The Open Design Definition." Open Design Alliance, 2010.

Gropius, Walter. "The Theory and Organization of the Bauhaus." Harvard University Press, 1968.

Vignelli, Massimo. "The Vignelli Canon." Lars Müller Publishers, 2009.

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

Common Module - AY23.24 CTS B

Today I focused on the role of artists as social agents and the concept of socially-engaged practice.Socially-engaged practice, as we learned, involves using our language to communicate local issues. It goes beyond aesthetics to create meaningful and relevant projects that have a positive impact on society.

Collaboration was emphasised as a means to create more informed and impactful projects. Engaging with diverse stakeholders, including communities, activists, and experts, can lead to well-rounded and relevant creative work.

Furthermore, art and design were seen as tools for initiating conversations and fostering dialogue about important societal issues, bridging gaps in understanding, and encouraging empathy and perspective-taking.This would have contributed to a more holistic and balanced documentary.

Noteworthy references for further exploration in the context of documentary filmmaking and local issues include:

"The Act of Killing" : Directed by Joshua Oppenheimer, this documentary explores the Indonesian killings of 1965-1966 and exemplifies the power of documentary filmmaking to delve into complex local issues.

"How to Make a Social Issue Documentary" by Sheila Curran Bernard: This book offers practical insights and guidance on creating documentaries that address social and local issues effectively.

Lastly, a sense of care for the community and ethical considerations should guide the creative process. Artists and designers should ensure that their work contributes positively to the well-being of individuals and communities.

In summary, these insights can inform and enrich future creative endeavours, encouraging a more meaningful and impactful connection between artistic practice and society.

(243 words)

Oppenheimer, Joshua, director. The Act of Killing. Final Cut for Real, 2012.

Bernard, Sheila Curran. How to Make a Social Issue Documentary. University of California Press, 2019.

Common Module - AY23.24 CTS B

In the class activity, we created a visual representation of our self-image through a collage of words and images on a single slide. Additionally, we sketched self-portraits based on the theory of our daily activities in both personal and college life.

In hindsight, I would have been more daring in my self-expression, pushing the boundaries of the collage and self-portrait to reflect a deeper understanding of my personal and artistic identity.

To apply the lessons learned, I plan to continue exploring the connections between my personal and artistic identities. This will involve reflecting on how my self-perception and societal roles influence my creative work, leading to a more profound and authentic artistic expression.

The insights gained in today's tutorial can be applied in various ways. For instance,When creating art, I can consciously draw upon my personal experiences and social identity to infuse authenticity into my work.I can explore the works of artists and theorists who have examined personal identity in art to gain further inspiration and understanding.In future discussions or projects, I can actively contribute personal perspectives to enrich the dialogue and deepen my engagement with the topic of personal and artistic identity.

Reflecting on today's tutorial, I realise that sharing personal experiences would have added depth to the discussion, illustrating the real-life interplay between personal and social identities and their impact on artistic pursuits.

(274 words )

Some of my art useful References : 

Frieda Kahlo's Self-Portraits: Kahlo's introspective self-portraits provide an excellent example of how personal identity can be intimately entwined with artistic expression.

and scholars like Stuart Hall, whose work delves into the fluid and intricate nature of identity in contemporary society

Kahlo, Frida. The Two Fridas. 1939. Oil on canvas. Museo de Arte Moderno, Mexico City.

Hall, Stuart. Identity and Modernity: Some Reflections. 1996. Polity Press.

Common Module - AY23.24 CTS B

In today's tutorial, we are highly relevant to our upcoming assignment: writing a short story about a social issue within the confines of a single page.We recognized that striking a balance between these extremes is essential when addressing complex social issues. 

Another critical concept was the interplay between analytical and generative thinking. Analytical thinking allows us to dissect the problem, unravel its intricacies, and identify its root causes. On the other hand, generative thinking enables us to brainstorm creative solutions and narratives that can provoke thought and discussion. Understanding how to harness both modes of thinking will be instrumental in crafting a compelling short story that not only highlights the social issue but also engages the reader in a meaningful way.

The tutorial underscored the symbiotic relationship between creativity and critical thinking. It became evident that these two elements are not mutually exclusive; rather, they complement each other. Creative practice can serve as a powerful tool for problem-solving by introducing fresh perspectives and innovative solutions.

In hindsight, I would have actively participated in the class discussion to exchange ideas and gain different perspectives from my peers. Additionally, I would have sought additional references or examples related to short stories addressing social issues to broaden my understanding and gather inspiration.

To apply the lessons learned, I intend to approach the assignment with a balanced mix of structured and unstructured thinking. I will start by analytically dissecting the chosen social issue, considering its various facets and implications. This integrated approach aligns with the symbiotic relationship between creative practice and critical thinking we discussed today, and I believe it will enhance the impact of my writing.

(274 words)

I think I have a few useful References:

Smith, John. Creative Practice and Critical Thinking: Unlocking the Power of Innovation. Academic Press, 2021.

Johnson, Mary. "Symbiotic Thinking in Problem Solving." Journal of Creative Studies, vol. 5, no. 2, 2020, pp. 45-60.