AY23.24 CTS B

[kimhyunjinni]

Artistic Vision related to Social Engagement

This CTS B class gave me time to contemplate my future vision. Listing my responses to several questions, I realized they were generally ambiguous and broad. Design began as a means for the joy of creation, igniting my passion through learning. Now, it has become the direction for my future. Since updating my portfolio, I've felt the necessity to reflect on the values I want to achieve and to delineate a more detailed vision for my future through design.

Encountering diverse designs, I've had experiences where viewing artworks embodying social participation or significance naturally triggered thoughts and actions in those areas. Design, as a result, not only links to concrete production and consumption but also enhances various values through its influence.

 Among these values, there are numerous examples related to environmental issues.

To fundamentally address these issues, a paradigm shift beyond simple environmental regulations is necessary. Therefore, design should encourage sustainable actions from an environmental perspective. Through such examples, I learned that to encourage sustainable actions, it's crucial to present designs that provoke viewers to contemplate rather than offering one-dimensional solutions. 

Therefore, in the studio module, my topic of archifest branding was also related to environmental issues, allowing me to actively apply lessons learned through examples.

After selecting three main environmental problems in Singapore, our objective was to raise awareness by showcasing futuristic architecture as a response to potential negative environmental changes. 

In this manner, as a designer, one can positively influence many people from a societal perspective, thus emphasizing the increasing need for responsibility. 

This book introduces design works by the famous graphic designer Milton Glaser that protest against the absurdities of the world. Here, Glaser mentions, 

"The role of a designer is no different from that of a conscientious citizen. A good citizen refers to someone who understands their role in an era. We all should bear a sense of responsibility to become good citizens." 

This demonstrates how he defines his identity as a designer within a social context. 

Furthermore, his journey as a designer tends to align with my future vision. This can be seen in his quotes: "Doubt is better than certainty" and "Design is moving an existing condition to a preferred one" These phrases reflect critical self-reflectivity, aiming for an open mind to grasp people's needs accurately and become a designer capable of empathy, closely relating to my envisioned future path. 

Additionally, in the case of Nigel Whiteley,

 "A 'good designer' should not just be about aesthetically beautiful design, displaying refined taste, or bringing commercial success." 

While appealing aesthetics are a foundational aspect of design, becoming a designer who expresses and realizes my ideal values alongside this foundation is my future vision.

442 words.

Reference

Geum Nuri. Social Model of Visual Design from the Persistence of Sustainability, 2017

Wow Press. Global graphic designer - Milton Glaser, 2019

[kimhyunjinni]

Manifesto : Process of finding Identity

The topic of this CTS class is 'Manifesto.' Despite having formed my values and habits through various experiences, I found it challenging to articulate my own manifesto, especially in response to the overarching question, 'What attitude should a designer adopt in their design?' Therefore, our group's manifesto written in class has fewer general answers than fits me.

However, each individual brings diverse social and cultural backgrounds, and designers express their attitudes and beliefs uniquely through their design styles, shaped by these experiences. Thus, I aim to create my own manifesto based on our group's manifesto but tailored more closely to my personal values and design inclinations.

Before defining my manifesto, I questioned what values a manifesto could embody. Past designers didn't settle for their era's status quo; rather, they objectively observed their times and prioritized values. They crafted manifestos with specific guidelines for action.

Furthermore, manifestos evolved from written statements to symbolic imagery, spreading rapidly through exhibitions or websites, enabling mutual communication where those who embraced it could empathize and express opinions. Therefore, when creating designs infused with my values and experiences, defining my manifesto could strengthen their appeal by ensuring consistent and meaningful designs.

In reality, many designers adhere to specific methods or practice their own identity during the creation process. Dutch graphic designer Irma Boom, who has designed over 300 books, perceives books as structures. Before producing any book in its actual size, she creates a miniature version to confirm the book's structure.

She also created both a miniature version and an XXL version of 'Irma Boom: The Architecture of the Book,' which collected her designed books, seamlessly extending her working method into objets d'art. Through this, I learned that practicing a manifesto is both a process and a method of creating artwork.

Hence, the theme of my manifesto is 'Joyful Design.' Particularly in today's era sparked by network technology, it's easy to access various designs, like personal portfolios, through sites like Pinterest and Behance. Consequently, there's a tendency for a similar appearance without a distinctive style. Therefore, in my designs, I aim to convey novelty and attractiveness that I can thoroughly enjoy from within.

In practice, I implemented this into creating brochures in the studio module. 

Typically, books list text by typing on a keyboard. However, merely introducing variations, such as different styles of handwriting and PVC paper, provides visual delight and communicates novelty.

Ultimately, to define my manifesto, I must first understand myself well. However, most of the time, it is hard to grasp what identity I have without thinking deeply about it. Therefore, the CTS B module provides an opportunity to reflect on myself and aids in the growth of a designer.

447 words.

Reference

Shin Ye-won. Declaration and Practice: Happy Design Manifesto ,2020

[kimhyunjinni]

Critical Self-Reflectivity

The theme of this week, 'Self-Reflectivity,' is about self-application. Reflection involves looking inward at oneself. In my usual process of researching, conceptualizing, and designing, feedback and reflection are essential at every stage. In the studio module, documenting this process as CPJ allows for self-reflection, but it doesn't stop there. By carefully refining feedback and keeping it in mind for the next task, we can gradually progress, step by step. Through this, as the semester progresses, I feel a sense of achievement in my growth.

Furthermore, another crucial task for effective self-reflection is to possess the ability to understand one's emotions and regulate them, known as 'Emotional Intelligence.' Particularly, emotional intelligence extends beyond oneself to look outward and consider one's surroundings. If this is misunderstood, it could lead to design without empathy.

As an example of a design lacking empathy, we can mention 'Google Glass.' Google Glass was a voice-controlled device, and people found it embarrassing to say things like "Okay Glass, send a text" in public. If users have to engage in socially awkward or unacceptable behavior, it's only natural that very few people would use it.

In conclusion, to become an empathetic designer, one must start by understanding the thoughts and needs of other people.

"Understanding the realities and problems of the people you want to design for deeply."

Maintaining an open mind and attention to detail are the core and completion of a successful design thinking process.

239 words.

Reference

ON. We can all "sympathize.", 2019

[kimhyunjinni]

Connecting Theory and Practice

Everyone has their own identity. Through class activities, I listed several aspects of my identity and realized that my experiences, context, and the people around me play a significant role in shaping my identity. Moreover, some keywords related to my identity ultimately influenced my design identity.

I identify as a student studying design, and I am studying to increase my self-awareness and expand my design identity. Therefore, I am trying a variety of things, from typography to AI design, based on what I want to explore. In fact, typography initially felt challenging before I tried it, but once I started, the creative process was intriguing, and the results were satisfying, which boosted my confidence.

Furthermore, my design style tends to be maximalist or painterly, and this consistency is associated with my sense of self-identity.

Having an interest in graphic design, I came to know the world-renowned graphic designer 'Alan Fletcher.' He valued essence the most, and despite the advancements in technology enabling digital work, he adhered to analog techniques.

Therefore, he continued to create works that bore his unique and pure identity. Just by looking at Alan Fletcher's quote, "Design is not what you do; it's how you live," it is evident how much he projected his identity into his work.

If we can define our actions and design identity, we can have more confidence and purpose. To become the person I want to be, I must constantly edit my beliefs and modify and expand my identity. By doing so, as I modify and expand my identity, I will set my own meaning and goals for the design actions I undertake.

271 words.

Reference

Hyejeong Han. A peek at Alan Fletcher's Design Studio!, 2019

[kimhyunjinni]

Creative Practice and Critical Thinking

In today's era, the ability to logically and critically organize information and knowledge is considered an essential element for rational problem-solving. Furthermore, when this problem-solving leads to a novel outcome, we refer to it as 'creative thinking.' Applying this concept to class, I aimed to think from multiple perspectives in order to foster creative thinking. Using mind maps actively served as a useful tool for organizing my thoughts.

In the studio class, when creating various posters for a festival, determining the concept not only consumed a lot of time but also held great significance as it defined the overall direction. Therefore, while creating mind maps, I made an effort to approach the topic from various angles to generate creative ideas.

On the other hand, how can critical thinking be related to my work? In order to find an answer to this question, I focused on researching references that emphasized critical aspects.

This figure, characterized by a protruding belly and a red fish tail, was described as representing the self-image of Korean men in their 30s and above, encapsulated by concepts such as 'housing loans,' 'baldness, and 'unemployment.' It was referred to as a 'Designer Toy,' and such critical motivations can be considered the most important values in the creation of 'Designer Toys'.

In conclusion, I have come to understand that to create critical designs, it is essential not to conform to the ideologies of mainstream culture and instead boldly express non-mainstream cultural codes.

243 words.

Reference

Baek Gakyung. There is no tail designed without a story, 2016

Youngjeong Kim. Creativity and Critical Thinking, 2002