Common Module — AY25.26 WOII

[joeunlee]

WOII Compulsory: Summary

Through the WOII module, I realized that my approach to design could expand beyond a simple focus on results to encompass a process that includes interpretation and experience. Whereas I previously evaluated design primarily in terms of visual quality or functionality, this course taught me to consider the underlying context, sensory aspects, and the relationship with the user.

In particular, while various theories, including phenomenology, initially felt somewhat abstract and unfamiliar, connecting them to practical activities gradually led to a concrete understanding. By relating them to my past work experiences and everyday sensations, I came to realize that even the choices I had made unconsciously had their own reasons and structures.

This module played a significant role in cultivating an attitude that goes beyond simply “looking at” design, encouraging me to question and interpret why things are structured the way they are. Rather than accepting a piece of work as merely a final product, I naturally began attempting to decipher the intentions and contexts embedded within it, which has influenced my own working methods. I now approach design with a clearer sense of purpose than before, and the exploration that takes place during the process has become even more important to me.

Furthermore, by engaging with diverse concepts, I gained a broader perspective on the possibilities of design, which led to an attitude of not fearing new attempts. I came to understand that the process of formulating my own questions and exploring answers—rather than merely producing a given result—is an essential part of design.

Ultimately, WOII was a module that helped me gain a deeper understanding of design and established a framework for taking a more proactive approach to my own work. Moving forward, I intend to continue exploring design where sensibility, experience, and interpretation work in harmony, based on this approach.

(302 words)

[joeunlee]

WOII_Wk12 - Art Ecosystems

In this class, I learned to view design not simply as a final product, but as an ecosystem in which creators, consumers, educational institutions, and support groups interact and influence one another. This perspective shows that design is not an isolated act, but a relational and interdependent system shaped collectively by context and participation.

Based on this perspective, I explored Claire Boon’s The Twin Twist at Open Studios 2026 in connection with the Visual Journalism (Storytelling) stream. This project goes beyond mere graphic decoration by reconstructing the complex narrative of twin identity into a unified visual language. By translating the lived experiences of real twins into glitch art and experimental typography, the work creates a form of visual storytelling that communicates deeply human experiences.

What impressed me most was the way the project expresses the characteristics of twins through mirror-like symmetrical layouts, while simultaneously revealing their independent identities through intentional glitches. While the symmetrical structure creates visual balance, the overlapping typography and visual distortions emphasize the individuality hidden beneath the surface. The bold complementary contrast of neon green and red modernizes the concept of “living glitches,” while interactive elements such as the Twin Match cards and paper dolls invite the audience to participate directly in the narrative, increasing immersion in the work.

As Don Norman states, “Design is not just what it looks like and feels like. Design is how it works” (Norman, 2013). Through this project, I realized once again that design is not simply about creating beautiful outcomes, but about shaping how audiences interact with and are affected by them. At the same time, it led me to reflect on the kind of design ecosystem in which I want to work in the future. South Korea’s design ecosystem is characterized by rapid digital transformation and a strong visual culture, while Singapore’s design ecosystem stands out for its multicultural environment and active international collaboration. I hope to learn from the strengths of both environments and grow into a designer who understands local contexts while communicating through a global perspective.

This experience became a meaningful opportunity for me to think not only about choosing the ecosystem I will belong to, but also about what role I want to play and what value I hope to contribute within it.

Reference:

Norman, D. A. (2013). The design of everyday things: Revised and expanded edition. Basic Books.

(292 words)

[joeunlee]

WOII_Wk11 - Postmodernism

We explored contemporary design trends through the contrast between Modernism and Postmodernism. While Modernism pursued “Less is More” based on functionality and grid systems, Postmodernism embraced “Less is Boring,” breaking rules and emphasizing fragmentation, subjectivity, and expanded meaning. What struck me most was the Postmodern philosophy that values visual play and diversity over fixed answers.

The slogan “Listen, Obey” is not a mere command but represents the state of immersion naturally formed the moment one puts on the earphones. Listening, which begins as a personal choice, gradually deepens into concentration and ultimately surrenders to the flow of sound—a subjective experience we sought to express.

Through this project, I learned that design can go beyond being a tool for clear information delivery; by leaving room for interpretation, it can foster deeper engagement. Robert Venturi, in his book Complexity and Contradiction in Architecture (1966), writes:

“I prefer ‘both–and’ to ‘either–or,’ … (ambiguity and contradiction over pure simplicity).”

This emphasizes that embracing complexity and contradiction, rather than insisting on pure simplicity, is at the core of Postmodern design, reminding us that deconstructing established forms and creating new visual experiences is itself the essence of innovative design.

Reference:

Robert Venturi, Complexity and Contradiction in Architecture, Museum of Modern Art, 1966.

(258 words)

[joeunlee]

WOII _ Week 4 & 5: Design Analysis and Field Trip

Week 4 Reflection

We explored everyday objects from new perspectives by categorizing them according to different criteria, such as private-performative, slow - fast, skilled - unskilled, and useful - useless. The exercise that left the strongest impression on me was the useful–useless distinction.

For instance, a keyring might be considered useful by one person because of its personal significance, while another might see it as useless due to its lack of practical function. This highlighted that an object’s value is not fixed but shaped by individual experience and emotion. Even the same object can carry different meanings and uses for different people. This activity emphasized that evaluating design requires more than assessing function; personal context and perspective are equally important.

As Donald Norman notes, “The design of everyday things is in large part the design of the interactions between objects and people” (Norman, 2013), reminding us that objects acquire meaning through human interaction.

Reference : Norman, D. (2013). The Design of Everyday Things. New York: Basic Books.

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Week 5 Reflection Building on last week’s reflection on personal perspectives and meaning, this field trip to New Bahru focused on ‘materiality,’ observing the differences between natural and artificial objects. Natural objects include fruits, flowers, and plants, and artificial objects include cups, pots, bags, and clothing. Through observation, I discovered that matter plays an important role in the formation of object recognition and sensory experience. While natural objects have irregular and organic forms, artifacts show more structural and stable forms.

What was especially impressive was that flowers of different origins and pottery pots created a similar calm and stable atmosphere. The soft hues and organic forms of the flowers, and the smooth and firm surfaces of the pots, in common, formed a quiet and stable feeling. This shows that form and material are important factors that create emotion and atmosphere.

This experience made me rethink design as a relationship between the physical properties of the material and the sensory experiences it creates, rather than just a combination of features and appearances. Even in the same form, it can give a completely different impression depending on the material, and it can induce similar emotions in different forms. This suggests that it is important to consider materiality from the beginning in the design process.

Frank Lloyd Wright once stated that “form follows function” has been misunderstood, and that “form and function should be one, joined in a spiritual union” (Wright, 1947).

Reference: Wright, F. L. (1947). Form and Function in Architecture. New York: Horizon Press.

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[joeunlee]

WOII_ Week 3- Semiotics

Through this activity, I learned that formal and contextual analysis directly influence how we understand advertisements. For my individual assignment, I analyzed the Hellmann’s Christmas advertisement. At first glance, this ad appears to be a simple and cheerful image: a spoonful of mayonnaise is shaped like Santa Claus, floating atop an open bottle against a bright red background. However, upon closer inspection, it becomes clear that every visual element has been intentionally designed.

The red background immediately evokes Christmas, warmth, and a festive atmosphere, while the white mayonnaise creates a strong contrast that draws the viewer’s attention to the product. The vertical composition, extending from the spoon to the bottle, naturally guides the eye downward, establishing a clear visual hierarchy and emphasizing the bottle as the central element. Furthermore, the round shape of the mayonnaise jar evokes Santa’s beard while visually reinforcing the product’s creamy texture. Ample white space and a centered composition create a clean, balanced layout that enhances readability.

Contextually, the Santa-like form is a familiar symbol imbued with cultural meanings such as celebration, family, and sharing. By utilizing this image, the advertisement expands the mayonnaise beyond a simple condiment to an experience shared during the holiday season. As cultural theorist Stuart Hall noted, “Meaning is produced through representation.” This demonstrates how advertisements construct meaning through visual elements and cultural references.

In conclusion, this activity helped me understand that design elements such as color, composition, and form are not merely visual decorations but serve to guide specific interpretations and create meaning. This realization has made me aware that in my future design work, I must go beyond simple aesthetic elements and also consider the cultural meanings and messages conveyed by the design.

Reference: Hall, S. (1997). Representation: Cultural representations and signifying practices. London, UK: Sage.

(262 words)

[joeunlee]

WOII_ Week 2- Aesthetics

When I first saw the shop sign of Khakabo, it did not strike me as visually loud or attention-seeking. Instead, it felt quiet and neutral, which immediately piqued my curiosity. That subtlety was exactly why I was drawn to it. Rather than using neon colors or flashy graphics commonly associated with gaming culture, the sign adopted a restrained and functional approach. This simplicity allowed the design to suggest the interior atmosphere rather than explicitly describe it.

From the sign alone, I imagined a space designed for prolonged focus. Dim lighting, rows of PCs, the low hum of machines, and people absorbed in front of their screens came to mind. The aesthetic suggested concentration rather than order. I pictured cluttered desks, tangled cables, half-empty energy drinks, and fast-moving visuals on monitors. This visual disorder did not feel chaotic, but instead hinted at obsession and comfort within a controlled environment.

Compared to other PC-related shop signs, this restraint becomes more apparent. Many gaming spaces rely on pixel graphics, RGB lighting, or icons that immediately evoke gaming to signal their identity. While effective for quick recognition, these elements often reduce gaming culture to a predictable visual formula. Khakabo’s sign deliberately avoids such symbols, shifting attention away from surface-level excitement toward sustained focus and endurance.

This impression aligns with Dieter Rams’s idea that “Good design is as little design as possible.” Through its restraint, the sign quietly communicates the essence of the space, reinforcing how even simple shop signs can evoke specific lifestyles through function and context rather than decoration.

Reference: Rams, D. (1976). Ten Principles of Good Design.

(256 words)

[joeunlee]

Compulsory Question 3:

One collaborative direction I’m especially interested in exploring is working with the Broadcast Media department. I’m drawn to the idea of blending the visual strengths of communication design with filmed storytelling, because moving images can amplify the emotional and narrative impact of design. Research shows that strategic and well-crafted storytelling can strengthen brand positioning and shape audience perception in meaningful ways (Nguyen & Nguyen, 2025). A collaboration where my typography, characters, and visual identity elements interact with live-action footage would allow me to see how design operates dynamically across different media.

For my final project, I hope to create a conceptual brand from the ground up, developing its identity, typography system, and packaging. A cohesive visual identity does more than enhance aesthetics—it shapes how people understand and emotionally connect with a brand. Studies on branding highlight that consistent use of logos, color, and typography can significantly impact consumer recognition and trust (Kaur & Kaur, 2024). By designing the brand holistically, I can put these principles into practice and see how they work together in a coherent and meaningful system.

To engage with the community, I would like to work with local environmental organizations by designing campaign materials using friendly characters and approachable graphics. By making environmental messages visually warm and accessible, the campaign can lower the barrier to participation and create a positive emotional connection. Storytelling that is clear and authentic tends to build trust, which is essential in community-driven campaigns (Bird Marketing, 2023).

CTS will also support my professional development, especially because my career goals are to become a Marketing Coordinator and a Graphic Designer. It strengthens the critical thinking and collaborative skills needed for planning campaigns, analyzing audiences, and making strategic decisions—key responsibilities of a Marketing Coordinator. At the same time, the coursework helps me justify design choices, evaluate ideas more intentionally, and communicate concepts clearly, all of which are essential skills for a Graphic Designer. By developing these abilities, the module brings me closer to both of my intended career paths.

References: Bird Marketing. (2023). The importance of storytelling in branding. Kaur, R., & Kaur, R. (2024). The impact of visual identity on brand perception. Nguyen, H., & Nguyen, T. (2025). Strategic storytelling and brand positioning effectiveness.

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[joeunlee]

Compulsory Question 2

Critical Thinking Skills A has become the core framework that supports the way I learn across all my modules. Instead of viewing CTS as an isolated component, I use it to analyze information, question intentions, and make more intentional decisions in Studio, Craft Workshop, Digital Skills, and Photography. As Brookfield explains, “Critical thinking involves examining assumptions and exploring alternative ways of thinking,” and this mindset has shaped every part of my creative process.

In Studio, Facts, Reliable Sources & Filing Them played a central role in how I evaluated whether my concepts and outcomes matched the purpose of the project. This theme guided me to classify documents and references logically, search for dependable information, and organise my research through mind maps. When analysing typography references and studying designers for digital-based studio tasks, focusing on reliable sources helped me judge what makes a design effective and how I could apply those insights to my own work. It also strengthened collaboration in Studio, allowing my group to share trustworthy references, clarify roles, exchange ideas with more confidence, and create stronger and well-supported results together.

In the Craft Workshop, Collaborative Skills shaped the way I worked during group sculpture projects. This theme helped me evaluate ideas from multiple angles, listen actively to my teammates, and communicate my thoughts clearly. When conflicts arose, the focus on collaboration guided me to respect different opinions, discuss the issue calmly, and reach a shared solution. Even when I made mistakes during the craft process, Collaborative Skills encouraged me to reflect with the group, adjust our approach together, and turn those errors into opportunities for improvement.

In Digital Skills, receiving feedback was an opportunity to think critically about direction. By assessing the professor’s suggestions, I refined my work intentionally and produced better outcomes.

In Photography, growth mindset was used to experiment with new compositions, accepted challenges, and analyzed mistakes to improve the final results.

Across all modules, CTS A acts as the foundation that enhances my problem-solving, collaboration, research habits, and reflective thinking—helping me grow as a more intentional and self-aware designer.

Reference: Brookfield, S. D. (2012). Teaching for Critical Thinking. Jossey-Bass.

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[joeunlee]

Compulsory Question 1

For me, the Critical Thinking Skills module is about learning how to question information, evaluate perspectives, and make intentional choices rather than responding automatically. Our group used an Attack on Titan–inspired human figure with a volcano-like explosion from the head as our visual metaphor because it symbolizes the intense mental process behind critical thinking. Just like magma builds pressure beneath the surface, our thoughts gather, mix, and challenge each other before they erupt into new clarity.

We placed the CTS themes—What is CTS?, Collaborative Skills, Emotional Intelligence, Growth Mindset, Facts : Reliable sources and Filing them, Assertion and conflict Resolution, and Digital Media—falling outward like volcanic debris to show how these ideas spread into every direction of our learning. An eruption destroys old structures to create new landscapes, and we felt this echoed how critical thinking breaks fixed assumptions and opens space for new understanding. If I were to choose a different metaphor, I might use a prism, because one beam of information enters and transforms into many colors, symbolizing how critical thinking reveals multiple interpretations hidden inside a single idea.

My favorite session was the one on Collaborative Skills, because it made learning active instead of passive. It was memorable to see how differently we contribute—some people suggest bold ideas, while others observe, refine, or challenge them. Working together made me realize that critical thinking becomes stronger when it is shared. As Paul and Elder explain, “Critical thinking is self-guided, self-disciplined thinking which attempts to reason at the highest level of quality” (Paul & Elder, 2006), and collaboration pushed me closer to that standard by exposing me to new perspectives.

The value of working in a group is that it creates a space where ideas collide, combine, and evolve—much like our volcanic metaphor. It encourages adaptability and teaches you to recognize the strengths of others as part of your own learning process. If I could improve something, I would focus on managing my time better during the hands-on work, so that the final details of the project could have been more polished and intentional.

Reference: Paul, R., & Elder, L. (2006). Critical Thinking: Tools for Taking Charge of Your Learning and Your Life. Pearson.

343 words

[joeunlee]

Growth mindset

During class, we had the opportunity to explore shops near campus and observe logo designs we would normally overlook. Our group chose the Subway logo as the brand to redesign. Although I am right-handed, I created multiple sketches using my left hand for 30 minutes. It was challenging but interesting, and I tried to naturally incorporate Subway’s sandwiches, cookies, and subway silhouette into the logo. Using my non-dominant hand made some sketches messy or unbalanced, but I accepted mistakes as part of the learning process, focusing more on creativity than perfection.

This connects to Carol Dweck’s concept of a growth mindset, which argues that abilities can be developed through effort and experimentation. As Dweck writes, “failure is not a sign of lacking ability, but an opportunity for learning and improvement” (Dweck, 2006).

Trying out many ideas within a limited time led to some unexpectedly successful sketches, even ones I might normally dismiss as too simple or childish. After finishing the sketches, my classmates evaluated them, and it was rewarding to see one design receive the most votes. It showed me that stepping outside my comfort zone can sometimes produce the most interesting outcomes.

If given more time, I would develop the sketch that received the most votes. I want to make the subway elements clearer or experiment with color—possibly giving each letter of “Subway” a different color inspired by subway lines. I also hope to add unique shapes or textures to make the logo feel more dynamic.

Overall, this activity taught me that effort, exploration, and feedback matter more than natural talent. By embracing challenges and trying unconventional approaches, I discovered potential in ideas I might have ignored with a fixed mindset.  

Reference: Dweck, C. S. (2006). Mindset: The New Psychology of Success. ERIC. https://files.eric.ed.gov/fulltext/ED639293.pdf

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[joeunlee]

Collaborative Skills

As a collaborator, one of my greatest strengths is taking the initiative when no one else steps forward. Because I feel a sense of responsibility to move the team forward, I often share my ideas first and encourage others to contribute. I also listen attentively to my teammates' perspectives with an open mind and integrate their viewpoints into the process. This leads to more balanced work and strengthens team cohesion. Research shows that having an open mind in diverse teams positively impacts performance and collaboration (Mitchell, Parker, & Giles, 2012).

However, I am also aware of my weaknesses. I can sometimes become impatient when discussions progress slowly, as I am overly focused on completing tasks quickly. I may also voice opinions too early, giving the impression that I am trying to steer the overall direction rather than allowing ideas to develop naturally. Learning to slow down and allow others more space is an area I aim to improve.

In our group activity, we designed a future monument using craft materials, choosing ‘world peace’ as our theme. This design features a star-shaped structure, with a circle at each point connected by lines. At the center, five rods surrounded adhesive labeled ‘Diversity,’ 'Equality,‘ 'Culture,’ 'Religion,‘ and 'Gender.’ Visitors could enter the circular structure to share their thoughts via sticky notes, walls, or an app. The glue symbolized how different voices could “stick together” to become one.

With more time and an unlimited budget, I would have redesigned the monument as a luminous LED cylinder where people's messages float and glow. Installing this in the park would allow visitors to share hopes for peace while engaging in reflection and connection.

Reference: Mitchell, R., Parker, V., & Giles, M. (2012). Open‑mindedness in diverse team performance: Investigating a three‑way interaction. The International Journal of Human Resource Management, 23(17), 3652‑3672.

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[joeunlee]

Emotional intelligence

When I look back on the class, I’d say my biggest strength is empathy. In our role-play, the scene was simple: two students were arguing, and my only line was “stop.” Even though my role was small and not a leadership position, it made me think about how I would respond in a real conflict. I realized I would probably listen to both sides, stay calm, and give each person space to express themselves respectfully. I don’t tend to take charge immediately, but I try to stay steady and supportive when situations feel tense.

In other classes, I show empathy by respecting my classmates’ ideas during discussions. Even when I disagree, I try to acknowledge their points before sharing my own. That small effort helps others feel more comfortable speaking up and keeps the overall atmosphere positive. Research also suggests that being able to understand others’ emotions and respond thoughtfully improves collaboration and group outcomes (Martin, 2024). I’ve noticed this in class: when people feel heard, the conversation becomes more open and productive.

At the same time, I know I need to work on my self-awareness. Sometimes I don’t realize how my stress shows up in my tone or body language. I might sound less patient than I mean to, even though I’m not aware of it in the moment. If I become more conscious of these signals, I can adjust sooner and communicate more clearly.

Overall, I see empathy as my strength and self-awareness as my area for growth. Finding a better balance between the two will help me become a more thoughtful teammate and, in the future, a more emotionally intelligent designer.

Reference: Martin, L. (2024). Emotional presence in collaborative learning environments: Effects on student interaction and outcomes. Educational Technology Research and Development. https://educationaltechnologyjournal.springeropen.com/articles/10.1186/s41239-024-00477-y

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