Common Module - AY25/26 CTS B

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CTS B | Week 12: Materiality and the Evolving Vision

To grow, one must garner the time and space for patience, reaching within one’s conscience for clearer paths forward. The essential act of reflection, often found in moments of intense focus like David K. Lewis’s train rides or the creative’s state of "flow," is crucial for refining the creative self and generating visual sustenance (Csikszentmihalyi 123). After completing the CTS B module, I recognise that growth necessitates synthesizing both intellectual understanding and a deep engagement with material practice, establishing a robust framework for professional ambition.

Processing the feedback from my Week 10 visioning exercise (Figures 2–4) reinforced the need to balance ambition with pragmatism. My core strengths are conceptual thinking and visual storytelling. My primary five-year goal is to become a well-rounded designer capable of executing precise projects for visual identity. This involves adapting to industry trends, mastering efficient copywriting, and ultimately establishing a home-based freelance illustration studio with international reach (Figure 3). To achieve this, I will study motion graphics (After Effects and Figma) and participate in design competitions to diversify my portfolio.

My commitment is anchored in a critical lineage that uses materiality and craft as a tool for personal documentation - a theme explored significantly in Week 4. The significance of handmade expression, where meaning is embedded through physical effort, establishes the theoretical ground for my work (Adamson 3). This tradition is practically exemplified by works like the Rubbish FAMZine No. 9 (Figure 1), which uses a tactile, layered structure to archive personal and familial memory. This intentional synthesis of experience into a tangible artifact directly informs my own craft work, the zine “Gauge” (Figures 5 - 9).

“Gauge” serves as a physical metaphor for my internal and external struggles. The hand-sewn, cowhide leather sleeve, secured by grommets and a carabiner, represents the confident, often unapproachable "exterior me" that many perceive. This protective covering is contrasted with the zine’s interior, which is raw, analog, and unsettling, using found imagery and piercing jewellery to express the struggle with anxiety, depression, and trauma - the overlooked "interior me." The binding, intentionally unstable, formalizes this physical dualism. By contrasting a refined, protective material with raw, vulnerable content, my work places itself within a tradition of self-expressive design, proving that the material choice is the primary message. This grounds my conceptual practice by demonstrating how personal truth, once intentionally materialized, can sustain profound creative growth.

The CTS B module provided the necessary theoretical framework to examine and synthesize the world beyond art and design through a critical lens. From exploring traditions and societal lineages to crafting and revising my artistic vision statement, I have learned to re-engage my creative practice with everyday themes. The refined vision is therefore grounded not only in concrete professional goals but also in a deeper understanding of how critical reflection and material practice work in tandem to define the designer I am becoming.

Total Word Count: 474 Words

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Works Cited

Adamson, Glenn. Thinking Through Craft. Berg, 2007. P. 3.

Csikszentmihalyi, Mihaly. Creativity: Flow and the Psychology of Discovery and Invention. Harper Perennial, 1996. P. 123.

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David Carson (b. 1955)

Ray Gun Magazine, Issue #3 (Bryan Ferry Interview) (1992)

The End of Print: The Graphic Design of David Carson,Book Cover (1995)

Nine Inch Nails, And All That Could Have Been Album Packaging (2002)

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CTS B | Week 11: The Critical Brain Manifesto

What is scarier than Halloween? The answer, as our collective manifesto revealed, is the unmasking of one's own biases. Our group synthesized the entire Critical Thinking curriculum into the concept of the Critical Brain (Fig. 1), a visualization assigned for our five core principles to different regions. This demonstrates that critical thinking is not a single academic discipline but a constellation of metacognitive habits essential for design practice.

The first principle, “Question everything, especially your own intentions,” established the mandatory bedrock of self-regulation, forcing us to unpack our biases. This aligns directly with Stephen Brookfield's model of critically reflective practice, which posits that uncovering and challenging our assumptions is the hardest but most essential task of adult learning (Brookfield, Becoming a Critically Reflective Teacher, 21). The subsequent principles- “Truth is constructed,” “Think critical, not chronological,” “Reason before reaction,” and “Write to understand yourself” - collectively map the module’s learning outcomes, transforming abstract analysis into concrete action steps for any creative brief.

While the framework is strong, I would personally advocate for elevating the emphasis on Principle 3, “Think critical, not chronological.” The linear approach suffocates genuine creativity; true critical design requires non-sequential thinking, moving fluidly between ideation and critique. If I were to make a change, I would add a sixth, externally focused principle: “Critique the System, Not the Symptom.” This mandate for structural analysis would better integrate the societal critique we explored in earlier weeks regarding power dynamics and ethics.

The most significant aspect of CTS B for my overall programme is the final principle, “Write to understand yourself.” The reflection journal has become the literal blueprint of my evolving designer identity. In Studio , this writing process moves my work beyond aesthetics; the structural form is a critically articulated decision about load-bearing and user experience. This reflective practice is also vital in Design Skills and Materiality. The constant mandate to “Reason before reaction” ensures that immediate technical feedback isn't taken personally but is used as data for Donald Schön's concept of reflection-in-action (The Reflective Practitioner, 54).

This systematic methodology governed my personal Peatlands Zine project (See Fig. 2 & 3). Developed from a transformative 10-day regional expedition across Singapore, Malaysia, and Indonesia, the Zine aimed to expose the political and economic systems driving the haze crisis and the destruction of peatlands. This goal required full deployment of the Critical Brain. The need for a singular, organized output in the Zine further highlights why Massimo Vignelli's systematic approach is the professional application of our manifesto's goal. His Unigrid System is the embodiment of “Write to understand yourself,” showing how rigorous documentation is the most powerful tool for ensuring high-quality, scalable, and consistent external communication. CTS B successfully synthesized these disparate program threads into a singular, unified, and self-aware design methodology, proving that the creative act is fundamentally an intellectual one.

Total Word Count: 463 Words

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Works Cited

Brookfield, Stephen. Becoming a Critically Reflective Teacher. Jossey-Bass, 1995. (Page 21)

Schön, Donald A. The Reflective Practitioner: How Professionals Think in Action. Basic Books, 1983. (Page 54)

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Massimo Vignelli (1931–2014)

The 1972 New York City Subway Map (1972)

National Park Service Unigrid System (1977)

American Airlines Identity (1967)

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CTS B | Week 6: Critical Self-Reflectivity

As late September signaled the approach of formative feedback, an internal reckoning began: how well did our theoretical knowledge translate into practice? Week 6 utilized the Double Diamond design process (Figs. 1-4) to test this consolidation, using a confusing sign redesign to map internal critical thinking onto external design structure.

The difficult part of collaboration is managing one’s emotional input, particularly transitioning from Discover to Define (Figs. 1 & 2). I felt the powerful impulse to seize control - the tyrant’s hand ready to impose a singular solution - yet I practiced self-regulation. This conscious restraint to validate group perspectives was crucial, ensuring Define was framed by empathy, not ego. This aligns directly with Daniel Goleman’s assertion that Emotional Intelligence (EQ) is a key predictor of collaborative success (Emotional Intelligence, 35), underscoring that effective collaboration hinges on mutual commitment (Katzenbach & Smith, 45).

However, the outcome revealed a profound failure of convergence. We delivered three distinct signs, succeeding in initial diagnosis but failing the crucial social fusion required to move cohesively through Develop and Deliver (Figs. 3 & 4). This inability to commit to one path is a critical warning for my Design Interactions team project, Temasek Playground (Figs. 5-7), which demands a seamless, cohesive narrative built from a unified vision.

For future practice, the best feedback loop won't be internal reflection alone, but the shock of external critique. As Tasha Eurich argues, true self-awareness requires both perspectives (Insight, 48). I wish to be a convergent designer, whose skills serve collective intelligence. Design maturity begins with this unflinching self-critique: the price of the unmanaged ego is always a fractured effort during the Deliver stage, the ultimate test of maturity.

Total Word Count: 274 Words

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Works Cited

Eurich, Tasha. Insight: Why We’re Not as Self-Aware as We Think, and How Seeing Ourselves Clearly Helps Us Succeed and Thrive. Currency, 2017. (Page 48)

Goleman, Daniel. Emotional Intelligence: Why It Can Matter More Than IQ. Bantam Books, 1995. (Page 35)

Katzenbach, Jon R., and Douglas K. Smith. The Wisdom of Teams: Creating the High-Performance Organization. Harvard Business Review Press, 1993. (Page 45)

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Tania Bruguera (b.1968)

Tatlin’s Whisper #6 (Havana Version) (2009)

Surplus Value (2002-2003)

The Francis Effect (2014)

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CTS B | Week 2: Connecting Theory and Practice

Design identity operates on a paradox: it demands deep internal authenticity, yet its professional success is judged entirely by external perception. Defining my "unapologetic self" (intuitive, silly) felt effortless (Fig. 1), aligning with Elizabeth Gilbert’s call to live creatively without fear (Big Magic, 87). But that feeling was pure internal bias.

The turning point was creating the external identity collage for a classmate (Fig. 3). Its unexpected accuracy proved my identity as a communicator is a social construct, shaped by how others see me. While my classmate’s perception of me (Fig. 2) was accurate but surface-level, this exercise confirmed that the designer must adopt the audience’s worldview and prioritize their reality. Don Norman argues great design requires discarding the designer's personal assumptions in favor of the user’s external mental models (Everyday Things, 13).

This tension is constant in my coursework. Developing the Food Hood app (Figs. 5-7) in Digital Skills -empowering home cooks displaced during the pandemic - was an immediate test of this external perspective. This required deep acting, adopting the role of a distressed cook seeking income or a user trying to order food. A practice Arlie Hochschild defines as essential for ethical social communication (The Managed Heart, 7). That is the ethical burden of design. My "creative whirlwind" self-portrait (Fig. 4) isn't just an inner vision; it's the processing space where my energy integrates those external realities. Ultimately, as Carl Jung noted, externalizing the unconscious self is necessary to integrate and understand profound societal connections (The Archetypes and the Collective Unconscious, 16). My designer identity is dynamic: a mix of inner world, social context, and the creative act that joins them.

Total Word Count: 271 Words

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Works Cited

Gilbert, Elizabeth. Big Magic: Creative Living Beyond Fear. Riverhead Books, 2015. (Page 87)

Hochschild, Arlie Russell. The Managed Heart: Commercialization of Human Feeling. University of California Press, 1983. (Page 7)

Jung, Carl G. The Archetypes and the Collective Unconscious. Translated by R. F. C. Hull, Pantheon Books, 1959. (Page 16)

Norman, Don. The Design of Everyday Things. Basic Books, 2013. (Page 13)

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Frida Kahlo (1907-1954)

"The Two Fridas" (1939)

"Self-Portrait with Cropped Hair" (1940)

The Broken Column (1944)

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CTS B | Week 1: Creative Practice and Critical Thinking

The primary struggle I face as a burgeoning designer is the ethical tension between the instinct to create for survival (i.e., making money) and the need to design for social impact. This week’s session (Fig. 1 - 3) provided the theoretical scaffolding to resolve this. My personal discovery is that the moment creativity channels an honest, critical insight - like the frustration of elitism in my short story - it transcends mere aesthetics. The realization that "To be creative is to be critical, consciously or not, creativity is man made, human bound" demands that I be intentional with every project.

This intentionality is vital for my current studio work (See Fig. 4 - 6 for reference), such as the Singapore Food Festival. Our concept addresses the political ambiguity of Singapore's identity, focusing on the country as a true melting pot where no single native culture can claim primacy. This is a critical move to empower underrepresented narratives. This ethical lens is aggressively enforced by Victor Papanek, who argued design must be a "conscious and responsible act," fundamentally rejecting the market-driven practice of styling (Papanek, Design for the Real World, 71). Papanek’s polemic pushes me to ensure my work is always a critical argument - a structured output born from inquiry. Furthermore, John Dewey's idea of art as an integrated process of understanding the world (Dewey, Art as Experience, 10) confirms this. Moving forward, my goal is to apply this by ensuring the visual form in every module serves an ethical or intellectual critique, leveraging creativity to resolve my personal dilemma between commerce and conscience.

Total Word Count: 256 Words

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Works Cited

Dewey, John. Art as Experience. Perigee, 1934. (Page 10)

Papanek, Victor. Design for the Real World: Human Ecology and Social Change. Pantheon Books, 1971. (Page 71)

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Ai Weiwei (b. 1957)

"Dropping a Han Dynasty Urn" (1995)

"Straight" (2008-2012)

"Sunflower Seeds" (2010)

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WOII Compulsory: In Summary

I didn’t anticipate how profoundly World of Ideas and Imagination would fuse my twin passions for philosophy and design. This module became a revelation, transforming my concept of design from a service into a vital language for interrogating reality itself. Through poststructuralism, I found academic rigor for my instinctive questioning, with Derrida’s différance (Of Grammatology 23) and Foucault’s power/knowledge (Discipline and Punish 135) giving form to my skepticism about “objective” design. As Victor Papanek insists in Design for the Real World, designers bear “a social and moral responsibility” to challenge harmful systems rather than serve them (Papanek 15), a mandate this module embodied.

The module crystallized why I've always resisted rigid design rules. As Gilles Deleuze argues, "Thinking is always experiencing, experimenting with what exceeds our grasp" (What Is Philosophy? 111). WOII showed me that good design isn't about answers, but about asking better questions. Whether through pixelated slogans or collaged explosions.  This aligns with Ellen Lupton’s claim that “design is a form of storytelling that shapes reality” (Design Is Storytelling 7), proving theoretical rigor is the bedrock of impactful work. 

My journey finds its visual counterpart in Jenny Holzer’s work. Her works show how text can punch through complacency. Where words flicker between poetry and protest, digital and concrete, resonating with the insightful takeaways I've had in WOII.

Total Word Count: 219 Words

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Works Cited

Deleuze, Gilles and Félix Guattari. What Is Philosophy? Columbia UP, 1994.

Derrida, Jacques. Of Grammatology. Johns Hopkins UP, 1997.

Foucault, Michel. Discipline and Punish. Vintage, 1995.

Lupton, Ellen. Design Is Storytelling. Cooper Hewitt, 2017.

Papanek, Victor. Design for the Real World. 2nd ed., Chicago Review Press, 2005.

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"Truisms" (1977-79)

"Inflammatory Essays" (1979-82)

"Projections" (1986-present)

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WOII: Week 11 - Postmodernism

Postmodernism’s fundamental questioning of fixed meaning has significantly reshaped my understanding of even commonplace consumer objects. Lyotard’s concept of an "incredulity toward metanarratives" (Lyotard xxiv) became evident during our Vicks inhaler ad project. This seemingly ordinary product, revealed itself as a capitalist symbol promising "relief" through menthol and strategic marketing. We employed postmodern strategies to expose this, glitching visuals mimicking corrupted data, pixelated representations of reality, and ransom-note typography assembled from disparate magazine fragments. The resulting design was a Baudrillardian simulacrum (Baudrillard 2). An ad critiquing ads, where the product’s supposed "purity" intentionally dissolved into absurdity.

Nietzsche’s assertion that "truths are metaphors we’ve forgotten are metaphors" ("On Truth and Lies" 84) provided a crucial framework for our critique. The inhaler’s branding, nature (menthol) strategically repackaged as consumer salvation, mirrored Haraway’s cyborg theory, where the boundaries between the organic and the industrial become blurred (Haraway 149). Our design amplified this inherent tension: comic book 'BOOM' were juxtaposed with the corporate blue of the packaging and background, compelling viewers to question: Is the feeling of relief a genuine sensation or a carefully manufactured product of persuasive imagery?

This resonates with Richard Prince, who rephotographed advertisements to deconstruct corporate fabrications. His work, His Untitled (Cowboy) (1989) ask: who ultimately benefits from this constructed narrative? Similarly, our advertisement for the Vicks inhaler "hijacked" it's comforting imagery to prompt the question: who profits from selling us the very act of breathing? Prince’s work, like ours, engages with consumerism not through outright rejection, but through a critical exposure of its underlying contradictions.

Total Word Count: 256 Words

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Works Cited

Baudrillard, Jean. Simulacra and Simulation. U of Michigan P, 1994.

Haraway, Donna. Simians, Cyborgs, and Women. Routledge, 1991.

Lyotard, Jean-François. The Postmodern Condition. U of Minnesota P, 1984.

Nietzsche, Friedrich. “On Truth and Lies in a Nonmoral Sense.” Philosophy and Truth, 1979, pp. 79–97.

Prince, Richard. Cowboys. Museum of Modern Art, 2007.

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"Untitled (Cowboy)" (1989)

"New Portraits (Instagram Paintings)" (2014-2015)

"Untitled (Fashion)" (1982-84)

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WOII: Week 10 - Poststructuralism

This week’s exploration of poststructuralism has fundamentally shifted my understanding of design's relationship with meaning. Derrida’s concept of différance, the idea that meaning is fluid and perpetually deferred within language (Derrida 23), strongly resonated with our activity’s deliberate juxtapositions. The pairing of "got birds?" with water ripples evolved into a poignant question about ecological fragility, while "emergency intercom" alongside marbled umbrellas transformed weather data into a surreal warning. These exercises highlighted that meaning isn't inherent but actively constructed through contextual interaction.

Foucault’s power/knowledge framework (Foucault 135) has significantly impacted my perspective on design practice. The seemingly simple locker with a push bar now represents how visual hierarchies, such as grids and typography, can subtly enforce control. My previous inclination towards "clean" layouts now feels potentially complicit in prioritizing singular interpretations over the richness of ambiguity, a notion reinforced by Nietzsche’s assertion: “Truths are metaphors we’ve forgotten are metaphors” (Nietzsche 84). This prompts a critical re-evaluation: why not allow textual elements to fragment into abstraction or images to resist singular narratives, embracing a more open and participatory engagement with the viewer's interpretation?

This perspective aligns with Barnett Newman, whose abstract canvases deliberately reject representational certainty. His zip paintings, vertical lines bisecting fields of color, refuse fixed meaning, inviting individual and subjective interpretation. Similar to poststructuralist thought, Newman’s work suggests that meaning isn't a static discovery but an active construction by the observer. This week has challenged my core assumptions about design's communicative function, pushing me towards a more dynamic and less prescriptive approach that acknowledges the inherent instability of meaning.

Total word count: 259 Words

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Works Cited

Derrida, Jacques. Of Grammatology. Translated by Gayatri Spivak, Johns Hopkins UP, 1997.

Foucault, Michel. Discipline and Punish: The Birth of the Prison. Translated by Alan Sheridan, Vintage, 1995.

Newman, Barnett. The Sublime Is Now. 1948, Tiger’s Eye, vol. 1, no. 6, pp. 51–53.

Nietzsche, Friedrich. “On Truth and Lies in a Nonmoral Sense.” Philosophy and Truth, edited by Daniel Breazeale, Humanities Press, 1979, pp. 79–97.

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"Vir Heroicus Sublimis" (1950-51)

"Who’s Afraid of Red, Yellow and Blue I" (1966)

"Onement I" (1948)

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

Week 5 (170 words) In today’s session, we focused on the significance of materiality and craftsmanship in design. I brought three personal items: my stainless steel necklace, my fan, and my water bottle. The necklace, worn daily for over three years, has become a part of my identity, representing durability and resilience. Similarly, my fan, customized with a Hachiware sticker, is highly functional, providing strong airflow, while my water bottle, adorned with a lucky charm from Osaka, reflects my personal belief system. These objects highlight the importance of materials and craftsmanship, elevating the functionality of each item. Applying the “How Design Means” framework, I observed that these objects communicate more than just their utilitarian purpose, they reflect aspects of my identity, echoing class discussions on how design can be both practical and emotionally significant (Chandler 87). This reinforces how objects in our daily lives can transcend utility, serving as personal symbols of memory and connection.

Week 6 (160 words) During the Kampong Gelam field trip, I documented various works of design that embody the theme of cultural transformation through materiality and identity. I observed three works that blend tradition with modernity: traditional painted bowls and plates, a mural depicting old Kampong Gelam, and graffiti tags on a nearby wall. Despite their contrasting styles, these works form an interesting grouping under the theme of “Memory and Transformation.” The painted bowls and plates, with their intricate designs, are steeped in cultural tradition, representing continuity and heritage. The mural, showcasing a nostalgic image of Kampong Gelam, reflects the transformation of the district, acting as a collective memory. In contrast, the graffiti tags, often rebellious and transient, symbolize change, voicing the new generation’s sentiments. This juxtaposition of past and present highlights the evolving identity of Kampong Gelam, illustrating how design encapsulates memory, protest, and transformation (Berger 102; Barthes 65). These objects serve as powerful symbols of the district’s social and historical context.

Total Word Count: 330 Words

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Works Cited

Barthes, Roland. Image Music Text. Fontana Press, 1977.

Berger, John. Ways of Seeing. Penguin Books, 1972.

Chandler, Daniel. Semiotics: The Basics. Routledge, 2002.

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The Children of Dijon, 1986

"No Man's Land" (2005)

"Personnes" (2010)

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WOII: Week 4 - Semiotics

Today's session explored semiotics, examining how signs and symbols communicate deeper meanings. Semiotics plays a vital role in design by ensuring visuals don't just represent but also evoke specific emotions and responses from the audience (Chandler 78).

For my personal analysis, I selected a Nike ad with a simple white background and the tagline, "Yesterday you said tomorrow." The typography in this design is central to its message. The use of bold, clean type creates emphasis, drawing attention to the urgency of the words. The scale of the type suggests importance and motivates action, reinforcing Nike’s call to stop procrastinating and take immediate steps toward improvement.

The design's simplicity, with minimal elements, focuses on clarity and directness. The white background creates a sense of space and calm, allowing the message to dominate without distraction. The type itself, likely in a strong sans-serif font, communicates a sense of strength, confidence, and modernity, aligning with Nike’s brand values of empowerment and self-improvement.

The message, "Yesterday you said tomorrow," functions as an indexical sign, referring to the idea of procrastination. It speaks to a broad audience, particularly individuals who value productivity and self-discipline. However, it could also exclude audiences who view such ideals as overly commercial or stressful, instead preferring a more balanced, relaxed approach to personal growth.

This ad exemplifies how design principles like emphasis, scale, and space work together to create a meaningful message, demonstrating the importance of semiotics in visual communication.

Word Count: 254 Words

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Works Cited

Barthes, Roland. Image-Music-Text. Translated by Stephen Heath, Fontana Press, 1977.

Chandler, Daniel. Semiotics: The Basics. Routledge, 2002. Eco, Umberto. A Theory of Semiotics. Indiana University Press, 1976.

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"Your Body Is a Battleground" (1989)

"I Shop Therefore I Am" (1987)

"Your Gaze Hits the Side of My Face" (1981)

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WOII: Week 1 - Phenomenology

Today's session explored phenomenology through shadows and time, focusing on how perception is shaped by lived experience. Using photography and drawing, I examined how light and shadow are not just visual elements, but also emotional and embodied experiences.

Phenomenology emphasizes how we experience the world through perception, highlighting subjective experience over objective truths. In design, this is critical, as it deepens engagement with how users interpret visual elements. Shadows, for example, carry emotional weight beyond their visual form, shaped by time and memory. In my photographic work, I noticed how shadows shift throughout the day, reflecting time's fluidity. This aligns with Merleau-Ponty’s idea of embodied perception, suggesting that our experience is always mediated by consciousness (Merleau-Ponty 213). Kandinsky’s theories on abstraction also show how visual elements transcend their physical form to evoke emotions (Kandinsky 89), a key understanding for designers.

The drawing exercise connected these ideas to design practice. By representing literal shadows, I revealed deeper meanings absence, identity, and the passage of time concepts designers can use to communicate beyond the surface. Paula Scher’s typography demonstrates how form and layout influence perception, much like shadows shape space (Scher 45). Giorgio de Chirico’s surrealist works use exaggerated shadows to create a dreamlike atmosphere, emphasizing the storytelling power of light and form (de Chirico 102). Phenomenology teaches that design is not just about aesthetics but also about the emotional and experiential responses it evokes.

Total word count: 253 Words

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Works Cited

de Chirico, Giorgio. The Enigma of Arrival and the Afternoon. Thames & Hudson, 1995.

Husserl, Edmund. The Phenomenology of Internal Time-Consciousness. Translated by James S. Churchill, Indiana University Press, 1964.

Kandinsky, Wassily. Point and Line to Plane. Translated by Howard Dearstyne and Hilla Rebay, Dover Publications, 1979.

Merleau-Ponty, Maurice. Phenomenology of Perception. Translated by Donald A. Landes, Routledge, 2013.

Scher, Paula. Make It Bigger. Princeton Architectural Press, 2005.

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Paula Scher – "Shakespeare in the Park" Poster Series

Giorgio de Chirico – "The Enigma of the Arrival and the Afternoon"

Kandinsky – "Composition VIII"

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Week 12: Connecting CTS A to My Learning and Professional Journey

I want to collaborate on projects that integrate design and fashion, such as creating posters and visual campaigns for fashion students to showcase their work. Art direction is another area I aspire to explore. Lessons from CTS A, especially on emotional intelligence, play a significant role in this pursuit. Emotional intelligence has taught me to be more empathetic, understand team dynamics better, and communicate effectively essential traits for collaborative and art direction projects. It helps me connect with team members, acknowledge diverse perspectives, and manage conflicts constructively, ensuring smoother collaboration and more cohesive outcomes.

These skills are crucial when working with fashion students to create compelling posters that highlight their creative visions. Art direction, with its need for coordination and clear communication, benefits from the emotional awareness I developed in CTS A. The module’s emphasis on critical thinking and problem-solving has also prepared me to make quick, informed decisions in creative settings, contributing to impactful visual storytelling. This learning journey has enhanced my ability to approach challenges with a solution-oriented mindset, whether in collaborative or independent projects, ensuring that I can think through each step and adapt when necessary (Kleiman 101).

CTS A has opened me up to new ways of thinking and creative exploration as I embark on my first year of study. The lessons on networking and collaboration have already started to shape my professional journey by pushing me to engage with a wider variety of ideas and opportunities. The module encourages me to step out of my comfort zone, try new things, and connect with people from diverse disciplines ultimately helping me become a more well-rounded and adaptable designer. These lessons are foundational in building my reputation as a thoughtful, effective leader, ready to take on challenges and foster positive relationships.

Total word count: 330 Words

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Works Cited:

Kleiman, L. (2017). The Importance of Critical Thinking in Design Education. Journal of Design Thinking, 14(2), 98-104.

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untitled (free/still) 1992/1995/2007/2011 - Rirkrit Tiravanija

Projects 58, 1997 - Rirkrit Tiravanija

Demonstration Drawings, 2008 - Rirkrit Tiravanija

Untitled, 2015 (14,086 unfired) - Rirkit Tiravanjia

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Week 11: Connecting CTS A to my other modules

Connecting CTS A to my modules has solidified the role of critical thinking in my design journey.

In Studio, CTS A’s structured analysis has enhanced my visual thinking approach, allowing me to create marks and images that are expressive and contextually relevant. Research frameworks in Studio that consider multiple perspectives and question assumptions have changed my approach to using quotations and sources effectively, enriching my research quality (Lai). CTS A’s focus on form and meaning aligns with Typo Sensory, improving my ability to craft typography that resonates emotionally (Lai). CTS A’s emphasis on analyzing relationships between elements has also influenced Type and Language, enhancing my layout skills and visual cohesion (Facione). For Hollywood Bling, applying critical thought has refined my rotoscoping plans and execution with detailed innovation. The Data Space component has especially benefited from CTS A’s systematic research approach, adding depth to my narrative classification (Goleman).

In Craft Workshop under D-CE102, CTS A has guided my mark-making approach, strategically using dots, lines, and patterns for dynamic compositions. A critical lens on color theory has improved my palette choices, making my designs more intentional. Analyzing positive and negative space has sharpened my ability to create balanced work. Abstraction and synthesizing form, color, and text are more impactful due to my capability to deconstruct and rebuild visuals meaningfully (Goleman).

In Photography, CTS A has informed my understanding of composition, making my photos conceptually engaging. Applying principles such as balance and perspective with deeper consideration links intent to outcome, aligning with CTS A’s evaluative approach to storytelling (Lai).

For Digital Skills and Applications, CTS A’s critical thinking habits enhance my use of Illustrator, Premiere Pro, and Photoshop with structured problem-solving. My rotoscoping and InDesign tasks are approached with clear strategies and adaptability (Schoeberlein and Sheth).

Total word count: 330 Words

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Works Cited:

Facione, Peter A. Critical Thinking: What It Is and Why It Counts. Insight Assessment, 2011.

Goleman, Daniel. Emotional Intelligence: Why It Can Matter More Than IQ. Bantam Books, 1995.

Lai, Emily R. Critical Thinking: A Literature Review. Pearson Research Reports, 2011.

Schoeberlein, Deborah, and Suki Sheth. Mindful Teaching and Teaching Mindfulness: A Guide for Anyone Who Teaches Anything. Wisdom Publications, 2009.

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Contraband, Helsinki City Art Museum, Helsinki, 2012 - Taryn Simon

A Living Man Declared Dead and Other Chapters I – XVIII, Neue Nationalgalerie, Berlin, 2011 - Taryn Simon

A Polite Fiction, 2014 - Taryn Simon

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CTS A | Week 10: Discussing the Seven Weekly Topics as a Whole

Discussing the seven weekly topics as a whole highlighted the multifaceted nature of critical thinking in design. Each topic offered a unique approach, from understanding visual metaphors to the significance of structured research and collaborative work. The Critical Thinking Skills module has impacted my approach as a designer and student representative by enhancing my learning and leadership capabilities. Week 1’s introduction to critical thinking reshaped my analytical process, reinforcing the value of questioning assumptions and approaching issues from multiple perspectives. This has aided my CPJ work, encouraging more thoughtful reflections and better project outcomes!

Week 2’s collaborative skills proved essential for my group projects in Studio, teaching me to communicate effectively and balance different viewpoints. This skill has also been crucial in my role as class representative, enabling me to mediate discussions and foster an inclusive environment. Effective communication is key to building trust within teams (Wheelan).

Week 3’s focus on emotional intelligence taught me to manage stress and understand team dynamics better. This has been particularly helpful in coordinating group efforts and addressing classmates’ concerns. Emotional intelligence also played a key role in maintaining composure during demanding assignments, supporting personal growth and teamwork (Goleman).

Week 5’s growth mindset encouraged me to view challenges as opportunities for improvement. Applying this in Craft Workshop allowed me to experiment without fear of failure, fostering innovation. It also inspired me to encourage peers to take creative risks, boosting morale during group efforts.

Week 9’s digital media documentation reinforced the importance of tracking creative processes. Integrating this into my CPJ led to clearer project presentations, adding value to my role as a student representative, where structured documentation aids communication.

These interconnected topics formed a toolkit that improved my ability to lead and collaborate. Understanding critical thinking, emotional intelligence, and growth mindset made me more empathetic and effective in group settings, supporting my leadership and academic growth. 

Total word count: 330 Words

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Works Cited:

Goleman, Daniel. Emotional Intelligence: Why It Can Matter More Than IQ. Bantam, 1995.

Wheelan, Susan A. Creating Effective Teams: A Guide for Members and Leaders. SAGE Publications, 2016.

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Aftermath of Obliteration of Eternity, 2009 - Yayoi Kusama

Infinity Mirrored Room – Love Forever, 1966/1994 - Yayoi Kusama

Phalli’s Field, 1965 - Yayoi Kusama

LOVE IS CALLING, 2013 - Yayoi Kusama 

[gravekilla69]

CTS A | Week 3 Emotional Intelligence

01. We talked about "Self-management", "Self-awareness". "Empathy" and "Relationship management". Which aspect do you think you are strongest at, and which is something you should try to improve? Discuss with reference to today's activities, and even your Studio collaborations.

My strongest aspect is self-awareness. I dive deeply into my thoughts and feelings, which gives me insights into why I behave a certain way. This has helped me in Craft Workshop, where I can reflect on my creative choices and make informed decisions about what principles to apply. However, self-awareness can lead to overthinking, which affects my time management in Studio. Self-management is where I need to improve, especially when balancing multiple projects across my modules. Procrastination affects my productivity, and today's activities emphasized how better self-management could enhance my efficiency, particularly for the CPJ, where managing time well is crucial for documenting experiments and progress (Boyatzis; Brackett et al.).

In empathy, I sometimes struggle to express emotions, which hinders my ability to connect with people, especially in Photography class, where collaborative critiques are important for growth. I also tend to retreat during overwhelming moments, especially in group Studio tasks, and I noticed this weakness during today's group work. Developing stronger relationship management would make collaboration smoother across all my modules, ensuring that I can keep up with intense discussions without pulling back (Cherniss).

Francis Bacon's art resonates with me in these areas. His portrayal of emotional turmoil mirrors the inner struggles I've faced when dealing with procrastination or relationship challenges. Seeing Bacon's approach to confronting difficulties head-on reminds me that tackling my issues with self-management and relationship skills could lead to growth, both in this module and across my other classes, from Digital Skills to Studio (Sylvester).

Total word count: 250 Words

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Works Cited:

Boyatzis, Richard E. The Resonant Leader. Harvard Business Review Press, 2008.

Brackett, Marc, et al. Emotional Intelligence: Skills for Personal Growth. Cambridge University Press, 2018.

Cherniss, Cary. Emotional Intelligence in the Workplace: Building Better Leaders and Teams. Jossey-Bass, 2010.

Sylvester, David. Francis Bacon: The Logic of Sensation. Continuum International Publishing Group, 2012.

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Figure with Meat is a 1954 painting (Oil on canvas) - Francis Bacon. 

Three Studies of Lucian Freud, 1969 (Oil on canvas) - Francis Bacon

Painting, 1946 (Oil-on-linen) - Francis Bacon

Portrait of George Dyer in a Mirror, 1968 (Oil on canvas) - Francis Bacon

Self-Portrait, 1969 (Oil on canvas) - Francis Bacon

[gravekilla69]

CTS A | Week 2 Collaborative Skills 01. Describe your strengths and weaknesses as a collaborator: What did you do well, and what are some areas to improve? Discuss with reference to today's activities. (196 words)

My main strength as a collaborator is effective communication. I prioritize engaging with my peers and maintaining high energy, which fosters an inclusive environment where everyone feels encouraged to contribute. This openness aligns with research that highlights the importance of strong communication for trust and cohesion within teams (Wheelan). However, critical self-reflection has revealed the need to moderate my tone and volume. My enthusiasm can sometimes be overwhelming, impacting the balance of group dynamics. Research suggests that adjusting one’s communication style is essential for teamwork (Whetten and Cameron).

Beyond communication, my self-awareness helps me recognize challenges and work to improve them. Critical thinking supports this by allowing me to analyze my actions and adapt, emphasizing emotional intelligence in collaboration (Goleman). Learning from past interactions has reinforced that balancing energy with mindfulness enhances group effectiveness. In future Craft Workshop and Studio projects, applying this understanding will improve my collaboration and contribute to a more harmonious team experience. This approach resonates with my belief in the power of open communication and fostering inclusive environments. Just as Eliasson’s art encourages engagement and connection, I aim to contribute to creating a space where everyone feels heard and valued.

02. If you had more time and an unlimited budget, how would you design the monument differently? (79 words)

If I had more time and an unlimited budget, I would transform our “el gato” monument into a giant stained-glass sculpture, adding intricate details like stripes and cute eyes. The design would be expanded into a nature-blended mall, where free-roaming rescued cats create a dynamic, interactive, and inclusive environment. This would enhance the aesthetic and create an immersive, participatory experience, much like Olafur Eliasson’s works, where engagement and shared experience are central to the art itself.

Total word count: 275 Words

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Works Cited:

Goleman, Daniel. Emotional Intelligence: Why It Can Matter More Than IQ. Bantam, 2006.

Wheelan, Susan A. Creating Effective Teams: A Guide for Members and Leaders. 5th ed., SAGE Publications, 2017.

Whetten, David A., and Kim S. Cameron. Developing Management Skills. 9th ed., Pearson, 2016.

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The weather project, 2003 Tate Modern, London – 2003 Photo: Tate Photography (Andrew Dunkley & Marcus Leith)

Kaleidoscope for plural perspectives, 2024 The Geffen Contemporary at MOCA, Los Angeles – 2024 Photo: Studio Olafur Eliasson

Your rainbow panorama, 2006-2011

Beauty, 1993 Moderna Museet, Stockholm 2015 Photo: Anders Sune Bergn

[gravekilla69]

CTS A | Week 1 What is Critical Thinking 01. Describe your understanding of critical thinking that you had before the class, and reflect on what you may have learned. (158 words)

Before this class, I believed critical thinking was primarily about logically analyzing situations and solving problems. However, I’ve learned that critical thinking involves questioning assumptions, recognizing biases, and making evidence-based decisions (Facione). This broader perspective has shifted my approach to problem-solving, allowing me to engage with the complexities of issues and consider multiple viewpoints (Lai). As a result, I can now apply this skill to my time management in Studio and CPJ, improve my Photography compositions, and refine technical approaches in Craft Workshop and Digital Skills.

02. What have you learned about Mindfulness? How might you integrate this into your learning environment? (84 words)

Initially, I viewed mindfulness as simply being present in the moment. However, research shows that mindfulness can enhance focus, stress management, and emotional regulation (Shapiro et al.). This insight has led me to integrate mindful practices, like breathing exercises, into my workflow, which helps me stay focused and calm, improving my creativity and design process (Schoeberlein and Sheth).

03. Describe an eventful moment you have experienced in this class. (63 words)

The self-reflection exercise in class was impactful, especially when reflecting on my long-term goals. It pushed me to think critically about my future and self-worth, prompting personal growth. Studies show that self-reflection boosts awareness and development (Grant et al.), which I’ve found helpful in deepening my creative practice, particularly when considering artists like Miles Johnston, whose work explores the complexity of emotions and self-awareness.

Total word count: 275 Words

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Works Cited:

Facione, Peter A. “Critical Thinking: What It Is and Why It Counts.” Insight Assessment, 2011.

Grant, Anthony M., et al. “The Self-Reflection and Insight Scale: A New Measure of Private Self-Consciousness.” Social Behavior and Personality: An International Journal, vol. 30, no. 8, 2002, pp. 821-836.

Lai, Emily R. “Critical Thinking: A Literature Review.” Pearson Research Reports, 2011.

Schoeberlein, Deborah, and Suki Sheth. Mindful Teaching and Teaching Mindfulness: A Guide for Anyone Who Teaches Anything. Wisdom Publications, 2009.

Shapiro, Shauna L., et al. “Toward the Integration of Meditation into Higher Education: A Review of Research.” Teachers College Record, vol. 110, no. 2, 2008, pp. 257-287

Stuck in-between, titled liminal, 2018 (Pencil drawing) - Miles Johnston

Persona Revolution, 2018 (graphite on Moleskine) -Miles Johnston

Dichotomy, 2019 (graphite on Moleskin paper) - Miles Johnston

Contemplation, 2019, (Graphite on paper) -Miles Johnston

Untitled - Miles Johnston

Inflation (Graphite on paper) - Miles Johnston