Common Module - AY24.25 CTS B

Welcome to Vanna's nuggets of discovery ☻

[chameleonv]

CTS B: Week 12 - Compulsory Question 2

After revisiting my artistic vision statements, I realised they weren’t quite there yet. They were a bit broad, motherhood statements. So I took some time to think through properly and re-write them.

Here is what they look like:

Looking at my own vision as a designer, I was reminded of Sep Verboom’s 'Fan lamp' project which I thought is one work of design that resonates with the direction I want for myself.

This project reuses discarded electric fan parts from Cebu’s junk shops and combines them with traditional rattan weaving by local craftsmen.

On the surface, it is a beautiful product, but the deeper value lies in how it came to be. Verboom immerses himself in each community, learns their culture rhythms, observes their waste cycles, and listens first before designing anything. His work is not driven by aesthetics alone but by context, tradition, and social responsibility.

One thing I admire deeply about this project is his decision to use rattan weaving. Rattan weaving is well-known in Cebu's industry, also the Southeast Asian region. But instead of treating it as an aesthetic trend, he treats it as heritage. His choice feels respectful to tradition because he doesn’t borrow the craft superficially; he collaborates with the craftsmen who carry that tradition. He preserves their skill, gives it new visibility, and integrates it into a contemporary design outcome without stripping away its roots.

This is exactly the kind of design I aspire to do. What struck me most is how Verboom describes our profession as designers: “I have always been convinced that there is a lot more to our profession” . He also said that he sees the entire environment –every material, every discarded object, every form of craft – as having potential.. These ideas resonate deeply with me. It also captures everything CTS B has been teaching us – that design is not isolated from the world. It sits within histories, communities, materials, and lived experiences. Fan Lamps is a reminder that thoughtful research, respect for tradition, and awareness of social issues can shape a design that is both functional and rooted in culture. I also admire how this project returns something to the people it works with.

In topics like 'Connecting Practice with Society', 'Artistic Traditions and Lineages' and 'Critical Self-Reflectivity' in CTS B, I learned that design gains meaning when it responds to real people and context, and not merely our personal preference. I think that understanding history can guide contemporary design decisions without erasing what came before.

I also recognized how my own habit of thinking quietly/internally can be both a strength and a limitation. In a way, I feel like I’m a ‘baby version’ of Verboom, because his design process mirrors my own (reflective, observant, and thoughtful). The difference is that he turns that inward thinking outward, engaging with real communities. That’s the part I want to grow into: moving beyond internal thinking and learning to connect it to the world I am in.

(495 words)

Tan, Renée. “Rethinking a Designer’s Task with Sep Verboom.” Home & Decor Singapore, 25 Mar. 2021, www.homeanddecor.com.sg/design/rethinking-a-designers-task-with-sep-verboom.

Wong, Nanette. “FANTASIZED Uses Discarded Fans to Make Livable Products.” Design Milk, 16 June 2014, https://design-milk.com/fantasized-discarded-fans-become-lighting/

“Fan Lamp (Natural Weaving).” ADORNO DESIGN, adorno.design/pieces/fan-lamp-natural-weaving/?srsltid=AfmBOor8bXRf8glDw05X3TfbHA_6k-b6f3Vy0hj6XhAu7x4lXFzL-cEA

[chameleonv]

CTS B: Week 11 - Compulsory Question 1

When we were tasked to create a CTS B manifesto, my mind was formulating a set of beliefs or principles that could guide how we think as designers. But when we finished ours as a group, I noticed that many of the lines are more like practical reminders/advice than a manifesto in the context of CTS B.

If I were to write an alternative manifesto of my own, I would focus more on the mindset that I want to achieve, shaped by the tools I learned in CTS B. This will be my guiding principles to what I aspire to be as designer.

CTS B made me more aware that there is a lot more to our profession than what meets the eye. It’s not enough for my work to look good or function technically. What stood out to me throughout this module, was that designers don’t create in isolation. We are part of society, and the things we make affect the people who interact with them. So being a designer isn’t just about skill; it demands awareness and responsibility. We have to understand why something matters, not only how to execute it. Because of this, again, I don’t want my design practice to be guided by convenience or just aesthetics. I want it to be intentional – grounded in research, critical questioning, and an honest awareness of the impact my work has on others. I want to design with clarity, care, and purpose, not just produce visuals for the sake of producing.

I see this reflected clearly in the way I approach my Studio project (as I reflected in Week 1). The line concept only worked because it came from analysing behaviour, idea of taste as memory, and the festival’s identity. Not a random visual idea. CTS B helped me understand why that kind of thinking matters.

Even in our Materiality module, when we were introduced to weaving, we learned about different craft histories, how techniques evolved, and why certain forms exist. Understanding tradition made the practice feel meaningful rather than mechanical. It reminded me that design doesn’t appear out of nowhere. It is always shaped by what came before.

In the end, what CTS B gave me was not a checklist but a shift in how I see myself as a designer. It made me more aware of the gaps in my thinking and more confident in the parts of me that already work well. My group’s manifesto reminded me of where we currently are; my personal manifesto points to where I want to go.

(428 words)

Verboom, Sep. “Rethinking a Designer’s Task with Sep Verboom.” Home & Decor, 2023, https://www.homeanddecor.com.sg/design/rethinking-a-designers-task-with-sep-verboom/

O’Brien, Tye. “My Design Manifesto.” Medium, 1 May 2023, medium.com/@tyeobrien/my-design-manifesto-943bf73be74

[chameleonv]

CTS B: Week 6 - Critical Self-reflectivity

Reflecting critically on myself, to me, is about examining my decisions, biases, habits, and reactions objectively to see the reality of them, and not just my intentions. It is also to be honest with myself about it, even when the answers are uncomfortable to bring about self-improvement.

I realised, especially after speaking/working more with others, – I carry a personal standard without meaning to. I value coherence, and I naturally test ideas through practical reasoning. So when something moves away from what feels relevant, I either stay quiet or instinctively try to guide ideas/conversations back. And if I’m honest, it’s usually the former. I tend not to express myself because I worry about how I might come across. I don’t want people to misunderstand my intention or think I’m imposing/dominating.

The Sim Lim Square activity is a clear example. My group chose to analyse the escalator experience, but I genuinely struggled to see what the core issue was.

Instead of sharing that confusion, I stayed quiet because I did not want to disrupt the group’s flow. I also overthink how my comments might be perceived. The irony is that this hesitation limits my contribution. I could easily come off as uncommunicative even when I have thoughts running in my head.

A design issue that I initially thought had potential for improvement was a hobby store we chanced upon. It immediately stood out to me because the logo did not reflect the charm of the store at all.

Though I thought that it had a stronger design issue – I didn’t voice it. My silence matters because it impacts the group. Not that I think my idea was “better,” but because it meant my group never got to hear another perspective that could have expanded the discussion.

Even in my Studio group work, I noticed this pattern too. It reminds me that my silence can create misunderstandings, and that self-reflectivity includes recognizing how my habits affect others.

Moving forward, I need to work on articulating my ideas effectively, and learn to balance my internal thinking with good communication skills – so collaboration becomes smoother for both myself and the people I work with.

(362 words)

University of Waterloo Writing and Communication Centre. “Critical Reflection.” Writing and Communication Centre, University of Waterloo, https://uwaterloo.ca/writing-and-communication-centre/critical-reflection

Cheng, Ming, et al. Critical Self-reflection (Transition Skills and Strategies). Enhancement Themes, Jan. 2023, Sheffield Hallam University Research Archive (SHURA), https://shura.shu.ac.uk/30837/7/Cheng-CriticalSelfReflection%28VoR%29.pdf

[chameleonv]

CTS B: Week 2 - Connecting Theory and Practice

When we discussed “the theory of my everyday activities,” I thought it a strange question at first. Because I don’t usually think about my routines or habits as a theory. They feel too ordinary and mundane for me to think them that way. But the more we talked about identity, the more I understood why the question mattered. My everyday thoughts and actions all reveal something about how I see myself.

My sense of Identity, I think, is not fixed. It is also shaped by the environment I’m in, the roles I take on, and how others respond to me. There’s a personal identity I hold privately, and a social identity that gets constructed through interactions with people. Both intertwine, and shift over time. I catch myself thinking about how much of my identity is formed intentionally versus how much is simply accumulated through habit.

So we tested this idea during the class activity.

Creating the self-image collage made me pay closer attention how I see myself. These are not chosen randomly. They were just things I gravitate towards instinctively. Now piecing them together made me realise that my identity is shaped by a mix of peaceful interests, inner curiosity, and environments where I feel most at ease. What really stood out to me was how identity can look simple/straightforward on the surface but hold many layers underneath.

When later we did the classmate collage activity, I realized that how others see me sometimes matches my own view of myself, but not all the time. I was surprised how accurately my classmate could pick up certain traits that aligns to how I perceive myself. She chose images that were funny and exaggerated:

I didn’t expect someone to read me so clearly. It reminded me that social identity isn’t always something I control; sometimes people notice things about me that I don’t openly express. Some parts matched how I see myself, and some didn’t. But in this case, the accuracy of certain traits genuinely surprised me.

Overall, today’s lesson made me more aware of how identity is shaped from both internal and external – from personal habits and interests to the small things my classmates observed in me (in their own interpretation).

So to connect this back to practice, I realized that the way I work as a designer is also tied to my identity – how I see myself and what I think others say about me. Understanding this “theory” behind my everyday activities helps me see why I design the way I do, and how I can grow from here – both as a person and as a designer.

(438 words)

McLeod, Saul. “Social Identity Theory.” Simply Psychology, 2020, www.simplypsychology.org/social-identity-theory.html

Roundy, Lisa. “Factors Shaping an Identity | Internal & External.” Study.com, study.com/academy/lesson/factors-influencing-identity-formation.html. 

[chameleonv]

CTS B: Week 1 - Creative Practice and Critical Thinking

When we talked about the similarities between creative practice and critical thinking, I realized I don’t see them as two different gears in my own head that I switch between with. Rather I think, they intertwine with each other – complementary skills that work hand-in-hand and actively shape each other, enriching our thinking process.

This is why I believe that a person's thinking becomes stronger when the two are combined. When both feed into one another, they strengthen what the other lacks. Creativity generates ideas and possibilities that help us think outside the box, but on its own, it can be vague or directionless. So critical thinking steps in to question, sharpen/refine, and make sense of those ideas.

The short story exercise helped me experience both at work together. I needed creativity to imagine and build a scenario around a social issue. As for the choices I make about which details to include, what message I wanted to convey, and how the story might be interpreted – these all came from my critical thinking skills. So in other words, creativity generated the story, and criticality gave it shape and depth. Hence, when both work together, it shapes a more purposeful thinking process.

It is the same thing I noticed for my Studio project.

I can explore different concept directions with my creative thinking, but it is the criticality that helps me realize which ones actually make sense and which ones were just nice in my head. This combination pushes my work to be more thoughtful instead of impulsive.

All this is to say, it is not about choosing between being creative or critical. Critical thinking can be creative, because asking questions and challenging assumptions often leads to new and unexpected ideas. In the same way, creativity can also be critical when it pushes against normality or offers a fresh and different perspective on something familiar. And by practicing both, especially in my design practice – I can strengthen the outcome of what I create.

(332 words)

Dwyer, C. P. “An Evaluation of the Relationship Between Critical and Creative Thinking.” PMC, 2025.

TED. “Tim Brown: Designers — Think Big.” TED, 2009, www.ted.com/talks/tim_brown_designers_think_big.

[chameleonv]

WOII Compulsory: In Summary

When I think about our World of Ideas and Imagination (WOII) module, Disney's 'Up' comes to mind.

Very much like the scene where the house is lifted into the sky by colourful balloons – WOII felt like that. I was no longer a hermit in my own house (aka my comfort zone). And ideas that came along, like Semiotics and Post-modernism, became my Russell – unexpected, sometimes annoying to wrestle with, but I would come to think of them as meaningful companions in the end.

Those concepts don’t work on their own; they are like family – closely connected to one another – working together to help me pause, observe, and rethink what I once would have glanced past. Not everyone gets the chance to be introduced to such a wonderful and different way of seeing the world, and I am grateful that this module gave me that.

If I could list all my little nuggets of discovery and creative growth, it’d be like counting the hairs on my head. So to keep it short, this is one of the many takeaways – I hadn’t realised how much I had boxed myself into thinking that design always had to serve a clear function. I tend to play it safe a lot of the time. WOII reminded me that ambiguity, personal expression, and imagination have a place too – sometimes even a more crucial one. These elements bring richness to my design work and help me connect with people on a deeper level. I have come to enjoy asking “why not?” more often – not just “what’s the rule?”.

So to conclude, I have become like Carl – learning to let go and find a new adventure, WOII helped me un-anchor old ways of thinking – and made space for imagination, questioning, and discovery to lift off.

(297 words)

[chameleonv]

WOII: Week 11 - Postmodernism

I love the chaotic-burst-of-creativity-where-nothing-is-held-back kind of energy and freedom that post-modernism embraces. Though, when I reflect on my own works, I don't see much of that. Perhaps, I am still holding on to the idea that design needs to make sense, or look ‘clean’. But lately, I have been thinking more about what it means to challenge that.

I came across the Dancing House in Prague while reading more about Post-modernism, which I thought made a great example.

I am not studying architecture, but something about the way the building twists and bends almost like it is dancing really stuck with me. I instantly connected with it, and felt inspired, because it reminded me that it is okay if something looks odd or mind-boggling at first. That kind of design can spark curiosity. It can even tell a story in a way that a ‘perfect’ or ‘neat’ design might not. That is the kind of reaction I want to explore more in my own work.

When we did the class activity, I knew how I could apply the post-modernism idea of letting go and being more free in my design.

It was not perfect, but that is not the point. What became clear to me was how I can allow myself to be more explorative and expressive. Rather than always aiming for clarity or 'perfection', maybe it is okay for things to feel strange or unexpected – because, in my opinion, that can bring something unique to the table.

To conclude: breaking away from the pressure of conventional design rules, like being ‘clear’ or ‘clean', I open myself up to more personal and authentic design choices. This kind of originality, I believe, is more innovative and unique because we are all one of a kind. And this, I think, is what can set my work apart and create lasting, meaningful impressions.

(310 words)

Smith, Kristian. "Dancing House." Adrez Living, https://www.adrezliving.com/en/blog//?nid=11. Accessed 16 Apr. 2025.

[chameleonv]

WOII: Week 10 - Poststructuralism

The way I see it: we are never able to communicate our own understanding of what an object is completely to another person. This is because our perception of that object is influenced by the words, signs and systems which we assign to it. Hence, "truth" may mean different things to different people. This is the beauty of perception and the diversity of the human experience.

For example, when I see a blanket, I may picture in my mind being wrapped up in a cosy, warm, comforting cuddle. But, to someone else, that same blanket may mean something like a wet blanket! This concept underpins the beauty of applying post-structuralism to art and design to invoke different emotions from different audiences with the same piece of work.

The point is that post-structuralism is a powerful way of thinking to give people different and varied experiences because as human beings, we are always constructing what we believe to be true, shaped by our own diverse backgrounds, language, and culture. What a challenging and liberating shift of thinking – especially as a designer.

Challenging because we are conditioned to believe there is a certain ('right') way to express something – and shifting away from that mindset is a wrestle. This conditioning limits creativity, as we choose to play it safe. Creativity thrives in openness and experimentation – this is why I also think it liberating – because post-structuralism gives space for ambiguity – allowing for rich interpretations and deeper engagement with the world around us.

A reference I want to make is René Magritte’s Le fils de l'homme (The Son of Man) painting and meme culture.

Both play with meaning that reflects post-structuralism. Somehow, seeing this in both art and everyday culture makes me want to embrace fluidity and openness even more in my design approach.

Through our class activity of juxtaposing unrelated texts and images, I found it funny that even when trying to create unexpected pairings, my partner and I still ended up making combinations that were not too far off from our usual associations.

Learning about post-structuralism has given me valuable insight that I can apply to my design training. I can challenge rigid, conventional design rules – like grids and hierarchy. For instance, in my Craft - Experimental Type class, I purposely experimented with breaking away from fixed grid layouts.

I love the idea of embracing openness, and in doing so, I can create something new and unexpected – exploring new possibilities. I can then break away from static, surface-level creativity in my designs and add richness to my work that invites audience to connect deeply.

(430 words)

What is Post-structuralism?” YouTube, uploaded by The School of Life, 10 Oct. 2017, https://www.youtube.com/watch?v=hmmUaPaNVSw.​

[chameleonv]

WOII Compulsory: Week 5 & 6 - Design Analysis and Field Trip

Be it everyday objects or an art piece, I tend to glance past them without giving much thought to how they were made. Because they are always there, doing what they are meant to, I take them for granted. I like to think of it like being in a relationship where one side gives quietly, and the other just keeps receiving without noticing. It is so easy to overlook the effort and intention behind things when you are only focused on what they do for you.

That is why I found the Design Analysis Framework not only a valuable tool, but also a reminder – to pause and think more critically about the objects around me. All the steps in the framework are useful, but the ones that really pushed me to dig deeper were “Subject Matter and Meanings” and “Context of Piece” – because I realise those are exactly what I often miss.

During the class activity, we each brought in objects that meant something to us. I remember Jon’s and He Ling’s in particular because both felt really personal.

This approach to analysis has also helped me carry it into my Studio 2 research on my chosen artist, Josef Albers.

I could easily just copy the way his work looks, but would my work then really hold any meaning? Probably not. What is the point of paying homage to someone if I don’t make an effort to understand them? This is why I want to listen to him – to understand why he made the choices he did, what he believed in, and how his ideas came through in his work. This adds so much more value to my design process and work.

That is also how I knew exactly what I wanted to look out for during the Kampong Gelam trip. Beyond just observing what things looked like, I was paying attention to the stories, materials, and intentions behind them.

I came across what I thought was one of the most striking architectural forms in Singapore – the Sultan Mosque. The structure itself got me curious, so I looked it up. It was beautiful, yes – but what I came to learn was how rich it is in heritage and history, and how it continues to serve as a place of gathering and connection for the Muslim community.

It is experiences like this that remind me – design is not just about how something looks or works – it is also about the stories held, the people it serves, and the meaning behind its creation. It is good to slow down, to notice more, and to carry that curiosity into the way I see and create moving forward. I believe this will guide me towards becoming a more thoughtful and grounded designer.

(458 words)

Singapore Tourism Board. “Sultan Mosque (Masjid) Singapore | Kampong Gelam Landmark.” Visit Singapore, https://www.visitsingapore.com/neighbourhood/featured-neighbourhood/kampong-gelam/sultan-mosque/. Accessed 16 Apr. 2025.​

[chameleonv]

WOII: Week 4 - Semiotics

All of us are semioticians – because we almost always interpret the meaning of signs around us subconsciously. From traffic lights to flags or cereal packaging, we are constantly decoding the visual world.

In our class activity, we analysed a campaign poster raising awareness of the effects of secondhand smoking.

It was fascinating how without any explanation, we all instantly understood the message the same way. That moment became clear to me how semiotics operates through shared visual language and cultural codes.

It also reminded me of Hayao Miyazaki’s Spirited Away, a film rich in symbolic imagery: the bathhouse as a metaphor for renewal and transformation, or the polluted river spirit reflecting environmental decay.

Even without fully understanding Japanese cultural references, viewers can feel what those signs mean. The film shows how symbols can communicate on multiple levels – intellectually and emotionally.

Since understanding semiotics, I have become more aware of the choices I make in my own design work. It is not just about what I want to express – but also how others might interpret it. This awareness pushes me to be more thoughtful, culturally sensitive, and even playful with meaning.

I have noticed how I have already, subconsciously, started using semiotics in my own design projects. For example, in Studio 2, I created a poster based around Josef Albers’ design philosophy. In coming up with the design, I experimented with colours in order to understand which colours interact better with and influence one another positively in the viewer's perception. I realise that doing so allows me to create complimentary colours in order to better reflect Josef Albers' theories on colour perception. This is why letters “J" and A” are the main feature of the composition as a nod to his art.

(288 words)

Albers, Josef. Interaction of Color: 50th Anniversary Edition. Yale University Press, 2013. Internet Archive, archive.org/details/interaction-of-color-50th-anniversary-edition. Accessed 16 Apr. 2025.

The Art of Miyazaki’s Spirited Away. Viz Communications, 2002. Internet Archive, archive.org/details/artbook-The_Art_of_Spirited_Away. Accessed 14 Dec. 2020.

[chameleonv]

WOII: Week 1 - Phenomenology

When I think of Phenomenology – I think about how no two people truly experience the same thing in the same way. We somehow shape our realities with our backgrounds, personal experiences, and emotions. This means, what one person sees, another may interpret completely differently.

As I reflect about it, I realise that this is what makes the human experience so rich and complex - which is why it got me thinking about how I can apply this concept to my design training. 

My thoughts are: if no two people experience the same moment in the same way, then as a designer, I should not assume a single, universal interpretation of my work. Instead, designing with an awareness - that people often carry with them their own histories, emotions, and associations to their perceptions of what they see and how they interact with the world - is more meaningful. This enriches creative design rather than complicates it. It encourages me to be more empathetic to people's emotional states, more curious, and more intentional about the different layers of meaning in my designs.

The class activity helped me practise what I have been thinking.

I found something I observed to be quite interesting – how time was expressed differently among my classmates. Even my own drawing was interpreted in unexpected ways when presented to everyone. This proved to me that no matter how clear I think I am being in my design work, people will always bring their own experiences to it. And that is not a flaw. It edifies and enhances. That, in itself, is a strength.

I think by understanding the diversity of human experiences, I can intentionally design a piece of art that creates a mood or emotion which can resonate with my audience on a deeper level. For example, in my abstract art – I can select and combine certain colours and forms to bring about a certain atmosphere.

I can’t control exactly how each person will experience the work, but I can design it to evoke a feeling – whether it’s calm, tension, excitement, or nostalgia – that connects with others.

By understanding people’s backgrounds, emotions, and the way they interpret the world – I can craft a design that is more likely to connect with them. This approach allows me to create work that feels more universal in its ability to elicit emotional responses, while still respecting the unique perspective of each viewer. It's not about trying to please everyone, but about connecting with people through shared emotions and experiences in design.

In this way, phenomenology enhances my design process by teaching me that design is not just about what is seen – it is about how it is felt and experienced by those who engage with it.

(453 words)

Harris, John. "Shared Emotions: A Steinian Proposal." Phenomenology and the Cognitive Sciences, vol. 18, no. 2, 2019, pp. 287–307. Springer, https://link.springer.com/article/10.1007/s11097-018-9561-3.

[chameleonv]

CTS A | Session 3: Connect CTS A to your learning and professional journey

I would like to collaborate with music students to create album art and promotional materials for their music releases. One idea is to design an album cover that represents the themes and emotions conveyed through their music. This project would involve discussions with the music students to understand the mood, style, and message they want to communicate. From there, I would translate these ideas into a visual design - planning the colour palette and imagery to align with the music and lyrics.

For my final project, I would like to design a literacy kit that provides resources for disadvantaged or vulnerable children to encourage reading from an early age, and help to develop foundational literacy skills. These kits could be distributed to local schools, libraries, and community centres.

The kit would contain a small collection of curated books - tailored to different age groups - including both fiction and non-fiction books. A set of worksheets featuring comprehension questions, discussion prompts, and creative activities related to the stories. I also plan to incorporate a reading log to help track their progress - reflect on what they have read, and set personal reading goals.

For community engagement, I would like to collaborate with a local library to implement a reading challenge aimed at encouraging children and families to read more frequently. I could contribute by creating visually appealing promotional materials, such as posters, brochures, and social media graphics, to spread awareness about the challenge.

One career path that interests me is becoming a Graphic Designer for a marketing or creative agency. This role involves not only producing visual content but also understanding client needs, developing creative concepts, and solving design problems. The Critical Thinking Skills module has been particularly helpful in developing my collaborative skills, especially in practising clear communication, which is essential when presenting ideas to clients or collaborating with a team. This ties closely to emotional intelligence, as it encourages self-awareness and consideration of others’ perspectives. This is crucial when working with clients - being aware of both their needs and expectations, and how to approach solutions in a way that resonates with them. Understanding my own emotional responses helps me remain adaptable and responsive, making the professional relationship more effective and meaningful.

(368 words)

References:

Di Giacomo, Michael. "Building Critical Thinking Skills at Work." Business.com, 2 Mar. 2023, www.business.com/articles/building-critical-thinking-skills-at-work/.

4 Critical Educational Gaps for Disadvantaged Children & Youth in Singapore." Children's Futures, 22 Aug. 2023, www.cf.org.sg/resources/opinion/4-critical-educational-gaps-for-disadvantaged-children-youth-in-singapore/

Helping Disadvantaged Children Learn to Read Consistently: A Guide for Teachers." Pickatale, 2024, www.pickatale.com/int/helping-disadvantaged-children-learn-to-read-consistently-a-guide-for-teachers

[chameleonv]

CTS A | Connect CTS A to all your other modules (and components)

Throughout my coursework, I could see how critical thinking was the backbone interconnecting with all my modules. I relied on it heavily, especially when experimenting with techniques, problem-solving and collaborating.

Collaboration played a big role, particularly in Studio 1 and Craft Workshop. Working in groups taught me to adapt my approach to different perspectives and working styles. Each experience broadened my understanding and deepened my appreciation for diverse insights. After all, not everyone has the same ideas as I do. I felt that blending ideas led to more effective solutions.

Emotional intelligence and assertiveness were also key. I had to manage my own emotions and remain sensitive to others. This is evident during Studio 1 and Craft Workshop. For example, in Studio 1, I helped resolve tension in a group activity by suggesting we revisit a peer’s idea, which led to better progress.

This experience ties closely to assertion and conflict resolution. I learned to balance being open to others' point of view while contributing my own. I found that this fostered greater success and productivity within the group. When conflicts arose, I resolved them through empathetic, strategic interaction - asserting my perspective without dismissing others - to reach shared goals while remaining considerate of the team.

Maintaining a growth mindset was essential across all modules, especially in a creative environment where innovation is constant. We were not given predefined frameworks but worked with ideas that are constant in need of fine-tuning and exploration. This process can be exhausting, particularly when feedback can be subjective. However, I learned that embracing diverse opinions and accepting constructive criticism are key elements of critical thinking and personal growth, requiring resilience.

Lastly, documenting my creative process was another vital part of my work. By documenting through design softwares for Digital Skills and Photography, I was able to track the development of my ideas and reflect on how my work evolved over time. In particular, working on a Creative Process Journal for Studio 1 allowed me to document not only final outcomes but also the stages of exploration and research, giving insights into my own creative journey.

In conclusion, all of these skills come hand in hand. They are elements of critical thinking, and each module required me to apply them in unique ways, shaping my growth as a designer.

(383 words)

References:

Four Cs of 21st Century Skills." iCEV, 12 Aug. 2021, www.icevonline.com/blog/four-cs-21st-century-skills.

[chameleonv]

CTS A | Discuss the Seven Weekly Topics As a Whole

When I think about the Critical Thinking Skills module, I visualise a maze - because it reflects the complexity of the idea, involving multiple layers that I would come to discover. It isn’t just about following a straight path - but also exploration of different routes, making connections, and sometimes being surprised by where those connections lead. The twists and turns are like different concepts that might not seem related at first but once pieced together, provide clarity.

If I had to propose an alternative metaphor, it would be a kaleidoscope. With each turn of the lens, the fragments (representing different ideas and perspectives) shift, giving new patterns and insights.

My favourite session was the group discussion where we reflected on the journal prompts and wrote our contributions on a piece of paper. It was memorable because working with my friends allowed me to observe how they moved, interacted, and engaged with each other in this type of setting - and I realized how the dynamics could change depending on the ideas being shared.

One notable moment I clearly remember was when we occasionally clashed due to our different ideas and ways of thinking. These clashes - though challenging - were valuable to me as they offered opportunities to improve collaboration skills and learn how to strategically communicate my thoughts and ideas. Moments like these also allowed us to exercise emotional intelligence - not only being aware of others' perspectives but also recognizing their emotions and adjusting our approach accordingly. This experience was a fruitful takeaway as it helped us navigate disagreements thoughtfully, manage group dynamics, and foster a more respectful and productive environment.

Looking back, I wish I had been more proactive and focused during the discussion. I sometimes find my attention span shortens as I get distracted by my own thoughts. Being more engaged in the moment would have allowed me to contribute more effectively and fully benefit from the insights my friends shared.

(320 words)

References:

Paul, Richard, and Linda Elder. Critical Thinking: Tools for Taking Charge of Your Learning and Your Life. 2nd ed., Pearson Prentice Hall, 2006.

Kallet, Mike. Think Smarter: Critical Thinking to Improve Problem-Solving and Decision-Making Skills. Wiley, 2014.

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CTS A | Growth Mindset

An eventful moment I experienced during this class was an interesting activity where we were tasked to form groups and visit shops near the campus to observe and document the logos they used—whether symbol or word-based. The goal was for each group to choose one logo and create fifteen re-designed sketches of it.

I felt genuinely excited because I was curious to see the results of drawing with my non-dominant hand. I enjoy trying new things, and challenges like this help me grow.

My group and I explored the area, took several pictures, and eventually settled on re-designing a bubble tea brand logo, Liho.

It was a fun and engaging process, not just seeing my own designs but also how my friends’ turned out. It gave us a great opportunity to encourage each other and share some laughs. I felt inspired and in awe of their creativity and how well they could still draw, even with their non-dominant hand.

I was particularly proud of my fifth re-designed logo. Since I am not a great drawer, I used shapes to guide me, and it turned out better than I expected. There’s something about the way the shapes form the word ‘Liho’ that gives me a sense of calmness, maybe because of its structure. If I had to change one thing, I would probably remove the jarring exclamation mark. On the other hand, my ninth design was my least favourite. It felt rushed and half-hearted because by that point, I was feeling restless and running out of ideas, so I just drew whatever came to mind. Moving forward, I hope to be more focused and resilient, even when I start to feel tired.

(280 words)

References:

"Growth Mindset." IRL Education, 1 Oct. 2023, www.irleducation.org.uk/blog/growth-mindset.

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CTS A | Collaborative Skills

One of my weaknesses as a collaborator is my hesitation to voice my opinions. I tend to be selective about sharing based on my perception of the person or situation, often out of fear of conflict. However, I appreciate diverse perspectives because they expose me to different ways of thinking and help me grow. I also find it fun and engaging to hear others' views, so I consider my open-mindedness to be one of my strengths.

One notable experience that highlighted both of these traits was a class activity where we formed groups to brainstorm and build a monument. During the process, we divided tasks for efficiency, and I contributed where I could. Since I was grouped with people I wasn’t familiar with, I found myself feeling naturally shy and less expressive. While I don’t have trouble collaborating with others and consider myself accommodating, I realised that I tend to hold back and not speak much in group settings, which limits my contribution.

Reflecting on this, I hope to become more confident in sharing my ideas and not feel intimidated in group discussions. This would allow me to be fully engaged and contribute to the group. Proactiveness is something I value, and it’s a quality I want to cultivate in future collaborations.

If I had more time and an unlimited budget, I would redesign our monument with an arch structure. Since we’re creating a monument for athletes, an arch would be more symbolic, as it's often associated with victory in various cultures. Instead of using paper, I would opt for metallic pearl-gold painted wood to represent championship and achievement. I would also incorporate pictures of well-known athletes around the arch to celebrate their successes and make the monument more visually engaging and relevant. Additionally, I might include lights to illuminate the athletes or the monument itself.

(306 words)

References:

De Klerk, C., J. Ker-Fox, and L. Steenekamp. "Enhancing Critical Thinking through Collaborative Learning: The Impact of a Partial Pre-release Assessment Format." Accounting Education, vol. 2024, 2024, pp. 1–20, https://doi.org/10.1080/09639284.2024.2361647.

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I initially understood critical thinking as a methodical framework involving deep analysis and logical reasoning to reach sound interpretations and judgments. I believe it is an essential skill, not just for solving problems but also for navigating everyday life. For instance, in conversations, listening attentively and analysing what others are saying can deepen communication and positively impact relationships.

However, after class, my understanding broadened. I realised that critical thinking is much more dynamic. A key takeaway for me was recognising that it’s not just a solitary practice; it's also about engaging with others’ ideas. Listening to how others explain their thought process can reveal valuable insights that I might not have considered on my own. After all, no one has a monopoly on good ideas. The collaborative aspect of critical thinking stimulates new ways of thinking and makes the process richer. It also helps prevent distorted or biased views of a situation, which was an important realisation for me.

We also learned about mindfulness, which I once thought unnecessary. However, after incorporating daily reading into my routine - which I realised is a form of mindfulness - I noticed significant improvements in my ability to focus and analyse. I began to pick up on nuances I used to overlook, and my thinking became more organised. Mindfulness encourages you to be present in the moment, aware of your thoughts and feelings without judgement. This heightened awareness is crucial and serves as the foundation for effective critical thinking.

A notable experience in class was the group discussion where we were tasked with critically analysing and developing solutions to improve the classroom. Since we were still finding our way with each other, it was intimidating to voice our opinions - at least for me. I felt a mix of nervousness and excitement sharing my thoughts and ideas, but I was grateful that everyone was open to each other’s perspectives. It was intriguing to listen to my classmates’ viewpoints as it offers insight into the various ways they think. This made the discussion both fun and engaging, as we not only contributed our ideas but also learned from each other.

(353 words)

References:

Kallet, Michael. Think Smarter: Critical Thinking to Improve Problem-Solving and Decision-Making Skills. John Wiley & Sons, 2014, p. 9.