Creative Process Journal by RUDY WONG

RUDY WONG

Studio

B-DC332 Graduation Project

Creative Process Journal

SEM1 SUBMISSION

RUDY WONG

30/11

SEM1 SUBMISSION

OMG i did it!

Creative Process Journal

(!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!)

30/11

MOVING FORWARD

RUDY WONG

Admittedly, the last few weeks of semester one was super tough as it wasn’t until towards the end that I became really clear of what and how I was organising my research. As I was constantly trying to understand what is kitsch, how can kitsch be observed in the context of Singapore; and also the visual language of kitsch – without straying to the “ugly aesthetics trend” that strips away the contexualisation of kitsch in Singapore. By the final weeks of semester one, I had to quicken my speed and work production due to the stressors of time constrains, and waste no time at all. That being said, moving forward to semester two, I really hope that I would plan and follow a workable production schedule and do the best that I can.

Creative Process Journal

SUMMATIVE FEEDBACK FORM

18/12

RUDY WONG

Creative Process Journal

SUMMATIVE FEEDBACK FORM

18/12

RUDY WONG

KITSCH FINDS HOLIDAY EDITION

Creative Process Journal

CULTURE CARTEL CON

The Culture Cartel Con was a street culture convention that featured various street brands in Singapore and Southeast Asia. Many homegrown stores/brands such as Zha Huo Dian (The Corner Shop), Cruddy, and Kult amongst others had pop-up stores within the convention space, and some even featured kitschy looking items.

MARINA BAY SANDS

Kitsch has the attribute of being spectacular, its ability to capture a large number, or wide audiences.

SHI LI FANG HOT POT

As Nat shared this kitschy hot pot place that she went a few months ago, I thought to check it out since I happened to pass by the restaurant and took a few photos of the place.

Kitschy signs and economical labelling of condiments spotted at Saizeriya City Square Mall.

RUDY WONG

SAIZERIYA

KITSCH FINDS HOLIDAY EDITION

OLDTOWN COFFEE

The back of the receipt of OLDTOWN White Coffee Singapore features an image print of “old” Singapore with their tagline in a handwritten typeface.

Creative Process Journal

STREET DECOR

I first noticed the kitschy Christmas decor right outside of The Bencoolen, during the Christmas season. But what was interesting was that two months later, a Chinese New Year festive decoration replaced frosty the snowman, and took its place in the exact same structure.

PALM READING STORE

Was in Bangkok for a short trip and came across this store. It was quite hilarious because there were lots of printed hands, and a small section where they attempted to read the palms of leaders – which I found to be particularly entertaining, and super funny.

BEAUTY SHOP

RUDY WONG

Promotional images of a beauty shop at Ang Mo Kio. The beauty salon stacked what seemed like generic images atop one another – creating a hilarious alien; or a character right out of the American sitcom, “Futurama”.

Creative Process Journal

KITSCH FINDS NEWS EDITION

RUDY WONG

These are screenshots that I’ve collected over the holidays. They’re some tweets relating to the topic of kitsch by the daily broadsheet newspaper – The Straits Times.

Creative Process Journal

KITSCH FINDS INSTA-STORIES EDITION

RUDY WONG

Creative Process Journal

(02)

(03)

(04)

RUDY WONG

(01) (term one)

NUARY JA

29 ○ dissertation submission

22 ○ consultation

15 ○ consultation + editing

31 ● first deliverable

24 ● class critique (applying the system of exploration)

17 ● class critique (identifying a system of exploration)

DISSERTATION

08/01

DISSERTATION DRAFT FEEDBACK

GENERAL FEEDBACK – compare findings and references – synthesise findings and data INDIVIDUAL CONSULTATION – look at urban renewal and the academics of the field – vikas, daniel ayapillai – conservation, people who are in the know *** – identify significant buildings that are rendered kitsch – objective is not very stable – look at the discourse of the study – the problems, contributing factors – definitions of kitsch + heritage

Creative Process Journal

PRIMARY RESEARCH – who study; – who document heritage conservation and urban renewal

RUDY WONG

INTERVIEWEES INTERVIEWS

TAY KHENG SOON

Interviews are conducted with intellectuals and key figures who have mentioned kitsch in Singapore, and are in charge of urban conservation in Singapore. The interviews aim to gather views and insights on “how kitschconservation projects manifest the conservation of heritage within the cityscape of Singapore”.

Architect, Social Commentator Founder and Principal Partner of Akitek Tenggara Singapore and Kuala Lumpur (197697); Member of Singapore Planning and Urban Research Group (1965).

Creative Process Journal

Mr Tay is an ideal interview candidate as he has used the term kitsch on several occasions; in his writings and interviews – to describe Singapore’s architecture. He was the architect of some of the iconic buildings in Singapore such as the Golden Mile Complex and People’s park Complex, was the founder and part of the Singapore Planning and Urban Research Group (SPUR), circa 1964–65 (HistorySG, Singapore Planning and Urban Research Group is registered).

Focas Forum On Contemporary Art & Society: Vol.3 Work/Play Kitsch & the Singapore Modern / edited by Lucy Davis

Theorizing the Southeast Asian city as text : urban landscapes, cultural documents, and experiences / Robbie B. H. Goh and Brenda S. A. Yeoh

08/01

C.J. WEE WAN-LING Professor of English at Nanyang Technological University School of Humanities College of Humanities, Arts, & Social Sciences

Focas Forum On Contemporary Art & Society: Vol.3 Work/Play Kitsch & the Singapore Modern / edited by Lucy Davis

RUDY WONG

Prof Wee was the academic who coined the term “kitsch-conservation projects” during the focas forum, “Kitsch and the Singapore Modern”. He has also used the term kitsch on several occasions and an interview with Prof Wee would facilitate in further understanding on what he meant by kitsch-conservation projects, as well as his thoughts on the conservation efforts in Singapore.

SENDING OUT EMAILS TO INTERVIEWEES

Hello _____, I am Rudy, currently in my final year of study in BA(Hons) Design Communication at LASALLE. I’m writing a thesis on kitsch and contemporary Singapore, and my thesis is as follows: The study of kitsch-conservation projects as a means of heritage conservation in the current landscape of Singapore – an amalgamation of heritage and urban renewal. I came across the second section of the Introduction in focas Vol. 3 – Kitsch and the Singapore Modern, amongst other publications and interviews where you mentioned kitsch in Singapore and your thoughts about it. Your background in architecture would provide insights for my research, and I was wondering if you would you be available for an interview as my key figure. I would like to know more about your views on the above-mentioned thesis, as well as your thoughts on kitsch and its presence in the cityscape of Singapore. It would help me greatly in my dissertation. Thank You for your time and I look forward to hearing from you soon! Below is my abstract for you to understand more about my research: This dissertation examines the relevance of kitsch-conservation projects to the present-day cityscape of Singapore, by analysing the presence of what are perceived as kitsch-conservation projects such as the ones established by Peranakan Place, Raffles Hotel, and the Chinatown conservation area. The paper therefore aims to investigate how kitschconservation projects manifest the conservation of heritage within the cityscape of Singapore, thereby bridging heritage and urban renewal in Singapore.

Creative Process Journal

Between the 1960s and 1970s, the People’s Action Party (PAP), Singapore had utopian ideals for Singapore. To be committed to “modernisation” and ditch the not-so good present and past – cultural roots had to be axed; and we had to become a society that wanted “progress and prosperity for our nation”. The 1980s saw a wealthier Singapore, which resulted in kitsch-conservation projects, in which Singapore then started to think of “Asian values” to build Singapore’s multiracial society, which include values such as “strong family ties and support,” “respect for one’s elders,” and “communitarian values” and grounding national identity. The 1980s was also a time where the mood of Singapore had shifted from one that wanted to embrace change and Western modernity, to one that regretted the loss of culture. By analysing case studies of kitsch-conservation projects, and conducting interviews with the respective organisations in charge of urban conservation in Singapore, the findings reveal Singapore’s efforts to balance conservation and redevelopment in its cityscape. Regards, Rudy Wong

08/01

KS TAY REPLY:

MY REPLY:

KS TAY REPLY:

Thank you for your speedy response! While it can be hard to define – kitsch is generally understood to be something tacky, low brow and ugly. It is a modern phenomenon due to globalisation, and is a common component of the cultural life in our society. Kitsch feature stylistic elements such as painted coloured surfaces and replicas, which therefore spoils the effect of authenticity. Kitsch can also be used it different contexts such as in art, fashion, photography, and interiors.

Its interesting why you call this kitsch. It will be interesting to understand the ideological basis of such a judgement. Is the pejorative judgement implicite or explicit or just stylistic? Is style ideological or cultural or primal? And in thus case which?

KS TAY REPLY:

Name me one building in spore you call kitsch? MY REPLY:

Vintage Cameras Museum And Click Art Museum at Jln Kledek. KS TAY REPLY:

Because the museum is designed in way that’s over the top. Just because it is a camera museum that showcases cameras, the museum is designed in the form of a camera, literally. So does that mean that all food places that sell food should take the shape of whatever they’re selling? No, that would be awful.

15/01

Regards, Rudy Wong

MY REPLY:

So Mr Tay, are you free for an interview sometime this week? It’ll really be of great help as I need to include views and opinions of key figures for my dissertation. KS TAY REPLY:

My only time is tomorow ie wed at 3pm at coffeeshop blk 207 street 21 bukit batok.

Show pic?

MY REPLY:

Yes thank you so much! See you tomorrow at the coffeeshop! KS TAY REPLY:

RUDY WONG

Image credit: Honeycombers Singapore

08/01

What is your understanding of kitsch first before i agree to discuss with you.

Creative Process Journal

MORE BOOKS 15/01

INTERVIEW WITH KS TAY

TAY: Look up on the word cloying – c l o y i n g. So kitsch has this effect – ya, but I want to go behind this thing. Why is it that this kind of statement is made, what do you think? The question that was arose in the discussion was, those who unconsciously produce kitsch is different from those who consciously produce kitsch. Those who unconsciously produce kitsch – its just normal, alright. But those who consciously produce kitsch they’re making a statement, so what is that statement?

16/01

current landscape of Singapore – which is an amalgamation of heritage and urban renewal. T: Kitsch conservation? So you’ve already passed a judgement? The kind of building that are being conserved are already kitsch, is that right? W: Yup T: Why do you say that? W: It’s actually a term that was raised at the focas forum, the focus forum that you attended

Ok so what is your research question? T: I don’t remember, what was that? WONG: Ok so my research question is – W: The forum on kitsch TAY: First of all tell me what is this for, what course are you taking. Why are you doing this?

T: Its many years ago right? W: Ya

WONG: So I’m studying design communication in LASALLE

T: You read about it?

TAY: Which department?

W: Yes I read about it

WONG: Design Communication

T: What did I say then, I can’t remember

TAY: What does that come under? Social science?

W: So C.J. Wan-ling Wee said that in Singapore’s cityscape, there are two aspects – one is about the modernisation or the modern buildings, and the other part is where Singapore wants to conserve buildings.

WONG: Green roof? No its the black building TAY: Black building (hahaha) OK W: So this is for my dissertation and I’m actually– T: This is your final year or what? W: Yes, final year. So my thesis is: The study of kitsch-conservation projects as a means of heritage conservation in the

T: So how are these buildings kitsch? What did I say about it? I dont know W: So what he meant about – the other professor what he meant about kitschconservation projects is that for example Peranakan Place or like the Chinatown conservation area, so he calls them the kitsch-conservation project T: He calls them? And what did I say about that?

RUDY WONG

TAY: So its that building with the green roof and all that is that right?

WONG: Design

INTERVIEW WITH KS TAY W: I think you didn’t say anything about it T: O so the term that he coined and you’re now investigating it? That point? W: Yup T: OK, then I can respond in this way – when somebody calls something kitsch, the person’s position is that of a modernist. Alright, and as that of a modernist, implicitly, modernism which is the expression of modernity. These are all terminology that I think we must make clear, but anyway we will just use it for the time being. Uh… it’s based on the notion of progress. And in the modern period, the modern industrial period, the symbols of progress, the aesthetics of progress is based on machine aesthetics. Like this table for example, the clean edge, there’s no need to add a border. No border, so these are the borderless or the frameless edging of an object. It’s modern. Because traditional construction requires the frame, the edge, so you have to use the wood, and then you need the frame to hold it together, so that’s preindustrial. So industrial aesthetic is always frameless. And the more frameless it is, the more modern it is. Anything that does not use the machine aesthetic– This (the chair) is produced by machine, this is injection moulding. This is produced by some form of moulding and press, so these are industrial processes. Therefore, they are by definition not kitsch. So when a person calls something kitsch, it is a pejorative term to say that you are not modern. Meaning that your aesthetic is not industrially derived. Therefore it is inferior, thats the implication right?

Creative Process Journal

( 1 ) What are your thoughts on Singapore’s current efforts to balance heritage conservation and urban renewal within its cityscape? T: OK the driving reason for – first we got to do some history – urban conservation of historical buildings was originally promoted by the liberal intelligence here who were concerned that the history and heritage of this country is being lost to modernisation. Which in the city takes the form of demolition and rebuilding. Rebuilding the modern buildings, modern as we define it just now, right? Industrial aesthetic. But that sentiment did not attract government policy because government policy is premise on economical benefit. So government policy is

based on modernisation, and modernisation equals industrialisation equals progress. And since these old buildings, even if they have heritage value are of no value because they represent the past, and they do not represent the future. So therefore, no compunction, demolish them, rebuild. That was the government’s position. Until the PATA Conference, P A T A. Pacific Asia Travel Association Conference, I think was 19-early-80s, you check the date– I think 82 or something like that. Where the travel industry, mainly dominated by the American travel agencies promoting travel to Asia, basically said “O our tourist don’t want to come to come to a place to see all the modern buildings, they want to come to see all the old buildings. And then what kind of old buildings they want to see, they want to see Chinatown, Little India, Arab Street, That’s what they want to see. So when the government heard this, they said ya, we better adopt urban conservation, for business purposes, for tourism. That’s when the government instructed URA, to become the urban conservation authority. So it’s for money! Not for heritage. The heritage value came in later. With the justification for preservation. So it’s about money, nothing else. Are you clear about that? Did you know about this? W: Yeah, because I was reading books also that talked about this issue. T: Yah, so what’s the question then? ( 2 ) You have mentioned the term kitsch on several occasions, so what does kitsch mean to you? T: So first of all I recognise that if I call something kitsch – and I do have a sense of what is kitsch. I am aware that I have taken the position of a modernist. When I was younger, I did not question this, to me modernism was progress, therefore its right. I never question myself, but as I get older, and become more circumspect, I see things broader, I realise that dammit, it’s just an ideological position. Then you sent me the picture of the camera right? W: Ya, the camera museum. T: Ya, so I ask myself, first of all my

16/01

But to simply say that the shophouse is kitsch, I think it’s incorrect. Because that

So to call it kitsch, is actually historically incorrect on the part of whoever call it kitsch and also reveals the bias of the person, that he is a modernist. And that he thinks that modernism is superior to any other ism. So in some way i think he is uh – who is this person? W: Professor C.J. Wan-ling Wee T: O, Wee Wan-ling, yayaya I know him, ya. Wan-ling is trained in the west. I think it’s Yale or one of those universities, right. W: I’m not sure T: So Wan-ling is indoctrinated in that point of view la. So he has been uh, in some ways he has been colonised. His thinking has been colonised. W: OK T: Just as my teacher, pass away now, Lee Kip Lin, he’s trained in Britain, he describes the shophouse as coarsen classicism. Meaning it’s done by uneducated people you see, which it was. But to measure its stylistic authenticity in relation to classical architecture, privileges classical architecture as superior – to the vernacular, which is the shophouse. I would use the term vernacular classicism, not coarsen classicism because the use of coarsen is pejorative, put down. But to say it is vernacular simply notes the fact that it was done in a normal manner. It was not trying to be classical in a strictly classical sense. Because if you were to do it in a strictly classical sense, you have to read all the books on John Waskin, Palladio and all these things right. And all the orders and

RUDY WONG

( 3 ) You’ve questioned the connection between the demand for kitsch and Asia’s modernisation phase, could you elaborate more on this phenomenon in the context of Singapore? T: I think we are in a dilemma because on the one hand, we believe in modernisation, because modernisation is very much part of our notion of progress, economic value et cetera. But at the same time we have come to accept that keeping some of these old buildings is a good thing because it has to do with our identity, and our history. So our knowledge has expanded more, we understand who are these people who have built the shophouses, why were they built that way, and what did they express. They were the expression of the kind of a petit bourgeois, shopkeeper, small-time developer, entrepreneurial capitalism of that period. And that was the style of that period, which was an adaptation of the colonial style, which is the neo-classical style, applied to basically brick and timber construction. But using that kind of style. Which in that context of time, was the norm. So it become an emblem of historical period of Singapore history, which we now– since know we value, we’re not too keen to simply obliterate it.

kind of style came about as I made the distinction from the beginning right, kitsch that is unintentional and kitsch that is intentional. When the shophouses were built in that style, it was normal, that was the way to build! Having that kind of decoration, columns and pilasters and so on – was the language of that period of time. Therefore it is not kitsch! It is kitsch when you deliberately design that way. They were not deliberately designed, they just did the normal thing. And most of these buildings were in fact not even designed by architect, they were just built by local builders who employed the local craftsmen to do the plaster work and so on, and that was it you know. No second thought given to its, that’s all.

immediate reaction is, I don’t like it. But what is the validity of my dislike? I have to ask myself. What do you think, is it valid? From the marketing point of view of that owner of that shop, its valid, cause he want to sell his product right. Which is I’m a photographer, so everybody look at it– yeah yeah photographer. It becomes immediately apparent. So from that point of view it is valid. Then you have to ask yourself, who are you then to say that it is not valid? Who are you to say that it is not valid? So it’s a different point of view thats it. You as a social observer, or cultural observer you have to say to yourself, I’m observing from what position. From a modernist position, therefore from a modernist position, this aesthetic does not accord with the modernist aesthetic of the kind of machine aesthetic therefore I reject. So do you accept that yourself? Or do you as a democratic person say that O yes I’m right, yes I’m right to express this view which is in its own interest, and you have no right to say that it is wrong. So you become ambivalent right?

INTERVIEW WITH KS TAY proportions and so on and so forth. These are all very classical descriptions, and all these craftsmen are simply, oh it look like that like that la. So its vernacular you see. ( 4 ) How successful do you think these conservation efforts are? T: What do you mean by success you see, you got to define the term right, success. W: Like how true to the past, like the heritage kept in the buildings

Creative Process Journal

T: How true to the past? Well you take Chinatown in contrast to Little India. Chinatown is a disaster. Why? Because first you got rid of all the people living there. So therefore the life of the place change drastically. And then you introduce a lot of new people, mainly from China. And they brought in Chinese-ness into Singapore Chinatown which is a different thing right. So there was a civilisational disconnect, that’s number one – civilisational disconnect. Number two, the repair work and the – OK this applies in many cases right, there is a certain aesthetic of oldness. This is a complicated issue, this was also discussed today. Modern buildings have to look new, perpetually young and well maintained forever. Like all these. And in fact there is a law in Singapore, that if you don’t paint your building, the government will paint it and charge it to you. There’s a law. Because the quality of the urban environment depends on the perpetual upkeep of the buildings in a state of good repair. And by good repair it means that it has to be, it has to look perpetually young. Even if they are old buildings. And this is the problem with the plaster and paint. The kind of paint that they use now is emulsion paint, which puts a layer of almost like a membrane over the surface of the plaster work. And that all the blemishes which record the history of the building are wiped out. So the passage of time, which an old object goes through, like for example if you were to restore say, an old earthenware bowl, you will not want to make the earthenware bowl look as though it was made yesterday. You value the patina, of oldness of it. So though you may clean up and repair and so on, you want to keep the patina. But in the urban conservation of our historic buildings, mainly the shophouses, you’ve eliminated the patina, because

of this ideology of newness – perpetual youthfulness. And the techniques that you use perpetuate this ideological position. Whereas some of the more enlightened conservationist in Singapore, people like Johannes Widodo and a few others argue that we must go back to using the limewash, which is made from seashells, made into a white limewash, and which allows the plaster and the dampness in the wall to breathe through it. And which will also age gracefully. But that is not accepted. So the value of the aged aesthetic, the patina of time is sacrificed in the interest of good maintenance. And that is one of the violations I would say in the conservation techniques that have been employed, so everything has to look new. So two things, one is the cultural shift, cultural disconnect, the other is the conservation method itself which tries to make an old thing look new. Which in another sense feeds into the monetisation of the object right, because if the object is old probably can sell for less, if the object is new sell for more whatever, money motive. But Little India I think they learn the lesson from Chinatown, that you do not displace all the people, you let them still continue, some new people come in but they kind of groove into the existing pattern of the – so the civilisational tendencies of the place continue, and therefore it has been very successful. And people who are living there, yes there are some changes but also the original culture more or less continue. But the case of Arab Street is another tragic story. This was told to me in some very interesting theory. Arab Street originally was Malay based right, Kampong Glam and all these. But the Malay element is being displayed by Turkish, mainly Turkish influx – is because the Arabs from Middle East are coming to Singapore for medical treatment in Raffles Medical Centre, which has been actively promoting their medical services to the Arab world. So they fly in in large numbers, spend a lot of money, that’s why the Raffles Medical Centre has become very rich. And once they come here, they will come with their whole family, you know their whole entourage will come. And they stay in this golden hotel? Is it golden hotel? Nearby to Raffles Medical Centre, and then they need to eat right, so they go to the side streets there. So what has sprouted up and has displaced the Malay shops, with shish kebab and all the Arab kind of food and

16/01

And they avoid Little India because they see Little India as low-class, they are snooty, they discriminate against Little India type of people, they will never go to those

( 5 ) Do you think kitsch could be appropriately utilised to conserve cultural heritage in Singapore? T: No, because kitsch is artificial. It’s cloying, it’s faking it. But that introduces another term called obiang. You know about that term? W: Ya obiang T: Obiang is really kitsch. But it’s a different kind of kitsch, it’s not kitsch that reference from the past – it’s kitsch that reference from the present. It’s the working-class, the new middle-class that tries to imitate the Western aesthetics, that’s obiang you see, and they do it badly. So again here is class bias, the kind of educated, elite class look at the aesthetic taste of the new middle-class as obiang. So all these terms are locked into ideological positions which reflect the social strata that you’re in.

RUDY WONG

Whereas in the case of Little India, the economic forces a lot of Indian workers coming to Singapore, mainly from South India, from Bangladesh. Their culture is very similar to the Little India culture, and therefore there was a good mix. But there’s another interesting factor which was told to me also. So these are the working class level, Little India maintain the working class cultural level. But the upperclass Indians who come mainly form the North of India, from Delhi, and Bombay – these are the foreign talent who are brought in into the finance and high tech businesses. They are not from the Tamil stock, they are from the Brahmin class.

restaurants – it’s low-class, you see. So there’s a class aspect as well.

culture and businesses. So the Arab influx into Kampong Glam is diluting the Malay heritage that’s embedded there. And this came about not because of government policy. But because of economic forces.

18/01 CJ WANLING WEE REPLY:

MY REPLY:

Dear Rudy,

Hi Mr Wee,

The start of the semester leaves one dashing about – so sorry about that.

Thank you so much for getting back to me in spite of your busy schedule! Yes, I had an interview session with Mr Tay Kheng Soon two days ago, and he has provided great insights for my research. And also thank you for the recommendation, I will contact Dr Liew Kai Khuin for the urban conservation aspect of my research.

I think that the person in NTU who has a stronger opinion & (importantly) ongoing & present participation in conservation issues is Dr Liew Kai Khuin in the Wee Kim Wee School of Communication (you’ll be able to find his profile in the NTU website). Liew Kai Khiun (Asst Prof) KKLIEW@ntu.edu.sg Do write to him direct & ask if you can meet him: he’ll have more to say on the subject. You an mention that you had a discussion with me about it… Apologies again for the slow response, but I think that it’s a valid topic. The best person to speak with, truly, would be the architect, urbanist and urban critic Tay Kheng Soon (‘kitsch’ is a favoured word of his for our architecture), & even if you can’t find someone to introduce you to him, you should search online and in university & National Library databases for his work… Best, W-L Wee See More from # Wong Leung Kiah Rudy

But with regards to focas Vol. 3 (a transcription of the forum Kitsch and The Singapore Modern) “Bland Modernity, Kitsch and Reflections on Aesthetic Production” – the part of your discussion during the forum, there are a few points that I’m still unclear about, and it would be of great help for my dissertation if you could answer these three questions: – The term “kitsch-conservation projects” was used to describe the conservation efforts manifested by Peranakan Place, Raffles Hotel and Chinatown conservation area. Could you elaborate more on what you mean by “kitsch-conservation projects”? – What are your thoughts on these kitschconservation projects, and how successful do you think these conservation efforts are? – Do you think kitsch could be appropriately utilised to conserve cultural heritage, and fuse modernity and tradition in Singapore? Thank you for your time and I look forward to your reply!

Creative Process Journal

Many Thanks, Rudy Wong

So unfortunately, he didn’t reply after my last email, which meant that the interview did not happen. Regardless, I would still like to thank Prof Wee for directing me to another possible interviewee.

18/01 LIEW KK REPLY:

Dear Rudy, Can you perhaps send me a list of tentative questions to see how I can help ? Kk MY REPLY:

Hello Dr Liew, Thanks for getting back to me, below are a few questions that I need to enquire for my dissertation: – What is the purpose of heritage conservation in Singapore? – The term “kitsch-conservation projects” was used to describe the conservation efforts manifested by Peranakan Place and Chinatown conservation area. What are your thoughts on these kitschconservation projects? – How successful do you think these conservation projects are in conserving heritage in Singapore? – What are your thoughts on Singapore’s current efforts to balance heritage conservation and urban renewal within its cityscape? – Chinatown has been criticised for solely catering to the tourists, the term “Disneyfication” was used to describe the cultural district – as almost like a make-believe theme park. What is your opinion on this? Thank you for your time and I look forward to your reply! Many Thanks, Rudy Wong

RUDY WONG

And, no reply afterwards too.

Creative Process Journal

ROUNDTABLE SIGNUP

RUDY WONG

11/01

STUDIO INDUCTION Semester 2 – Application*

Application* (Bloom’s Taxonomy)

• TERM ONE: Visualisation in Context (user testing)

• TERM TWO: Showing of Research (in situ – real world)

ANALYSIS To examine in detail. Examining and breaking information into parts by identifying motives or causes; making inferences and finding evidence to support generalisations.

*** TARGET AUDIENCE + CONTEXT • Designing for target audience • Test, feedback – target audience (at right place, location, etc) • Respond to work, react to changes • Make project as realistic as possible VISUAL LANGUAGE

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• Identify a suitable language

SYNTHESIS To change or create into something new. Compiling information together in a different way by combining elements in a new pattern or proposing alternative solutions.

THURSDAY

10/01

GUOWEN: Design Brief**

- target audience (check objective of project Objective of Project

- decide if it is doable**, 13 weeks only + dissertation + seminars, keep track of time you have, measure the speed you work, budget will determine anything you do, - remember what’s your objective and how you frame it PRESENTING YOUR PROJECT • negotiate, justify, explain *need to test!!!! with target audience to justify your project CREATE A WORKFLOW AND SYSTEM FOR EXPLORATION / YOUR PRACTICE

Proposed Deliverables

- assess deliverables, convince target audience and objective must make sense - to inform, to solve, to comment, to enhance, etc - your deliverables MUST consider how it engages the target audience and in what context How these components inform your process. Objective of project determines what you hope the project accomplishes with the target audience. **every piece of design is defined by your target audience *unlike the artist, the designer plans the production – think about scale, distribution, not just the design, you design the entire design process

• decide the medium, based on interaction • organise and edit content *** (based on target audience and interaction) • visual language – materials, representation *communicate process and vision!!!! • explore visual languages (based on target audience) * how to develop visual language – your own *train communication** at all aspect of your production visual library

RUDY WONG

Test on target audience see whether they understand your language, the language of the project, if not, iterate keep iterating, cause you’re designing for your target audience.

• work smart, explore in small scales and work in significant segments of the deliverable, test them and iterate and increase the scale if successful

Creative Process Journal

RUDY WONG

HOLIDAY ASSIGNMENTS (SKETCHES)

Creative Process Journal

KITSCH TREES

The idea is to create a collection or series of kitsch trees decorated to celebrate the cultural festivities. These kitsch trees would be placed either within the interiors of shops, or at shopfronts. To act as an object of festivity, just like how seasonal street decorations celebrate cultural festivals.

10/01

EXPERIENTIAL INSTALLATION

A mini section in the store that feature ethnic ornamental decor. To allow shoppers to experience, interact and be immersed in the themes of culture.

RUDY WONG

EXPERIENTIAL INSTALLATION

A mini section in the store that feature ethnic ornamental decor. To allow shoppers to experience, interact and be immersed in the themes of culture.

HOLIDAY ASSIGNMENTS/PINUPS

10/01

CONSULTATION WITH YASSER:

yasser: ok so what do we have? me: so my design statement is – The utilisation of kitsch decorations for its aesthetic values and cultural implications as a strategy to enhance ethnic culture in Singapore and remind the cosmopolitan and modern Singaporean of their roots – in the present-day landscape of modernity and tradition. basically to use kitsch decorations to enhance ethnic culture in singapore yasser: ethnic ah

work on a very broad spectrum – focus, alright. I’m not very convinced of this ethnic culture, like the malays not kitsch enough ah? its super kitsch eh. julie: omg do chinese indian yasser: so the ethnic culture right, they have their own kind of like – i do not know even how some is considered kitsch. i mean obviously we know it is some kitsch sensibility, but i wouldn’t think that it is described as kitsch. is it? i mean for example if you look at the indian culture, they use a lot of bright colours, very embellished, a lot of detailing, is that considered kitsch? according to research – not you la

me: yes yasser: why ah? is it pejorative or is it hahaha me: because in singapore’s modernisation phase, the ethnic culture was disregarded within the process of making singapore more modern, so we need to like kind of bring it back yasser: your design statement is wrong, because the utilisation of kitsch decorations, that’s like an objective, not really a statement.

you mean the ethnic culture in singapore needs to be enhanced? which ethnic culture are you talking about? because ethnic culture is broad eh!

me: i need to select one? yasser: ya you need to select one not because you prefer this ethnic culture, is because there is recurring, kind of like situation with it you know what im saying? right this is for everybody la i think its best where you don’t

me: its considered kitsch if its like loud, bold, colourful and cliche yasser: that could be anything eh. i think its best – to be very honest with you i think its best to stay away from ethnic and

culture because your understanding and my understanding of this is very little and very different you know.

i think its good to look at a very prevailing and obvious indicator of what kitsch is, i mean sorry to come back – im not saying if you should do this but lets say you look at when you first started about souvenirs, singapore souvenirs. that to me is obviously very kitsch, so there’s a very generic understanding, everybody will know that thats a language of kitsch. so i think that will help. because this is – it could be also the mandala kind of thing, it could be also religious, you know you have the lotus flower and all these patterns. so i think lets revisit this, and talk to your new professor friend

Creative Process Journal

WEEK 2 TO DO ( 01 ) ( 02 ) ( 03 )

design brief planning of schedule consider most doable deliverable by week 4.

RUDY WONG

RELOOK AT KITSCH

Creative Process Journal

MORE BOOKS

DISSERTATION

RUDY WONG

Went to the libary to search for more books on the topic of conservation and urban redevelopment for dissertation. And found this really interesting file which contains eight separate leaflets that explain in detail â&#x20AC;&#x201C; with accompanied diagrams and images on guidelines for conservation areas in the early stages of urban conservation in Singapore.

KITSCH FINDS CHINESE NEW YEAR EDITION

CNY HAMPER (NTUC STYLE)

Creative Process Journal

Big chinese new year hampers spotted at the the local supermarket. With a glossy finish, plastered with flower motifs, as well as 3D die-cuts at the upper sections of the hampers.

CHINESE GOD OF WEALTH

RUDY WONG

The Chinese God of Wealth can also be spotted in all parts of Singapore, in various forms, styles and sizes.

Creative Process Journal

DISSERTATION CLASS SCHEDULE PLAN, BY YASSER

15/01

SICK NOTE

22/01

DO NOT FALL SICK

RUDY WONG

I don’t know what happened – I was down with flu and sore throat. Which was really a bad timing because submissions for dissertation is literally in a weeks time! Moral of the story is to not neglect your health, especially when submissions are near.

Creative Process Journal

PLANNING THE FLOW FOR DISSERTATION

RUDY WONG

NEWS ON KITSCH IN SINGAPORE

Creative Process Journal

DISSERTATION SUBMISSION

RUDY WONG

29/01

KITSCH FIND DAZED

https://www.dazeddigital.com/music/article/42856/1/lanadel-rey-hope-is-a-dangerous-thing-kitsch-literary-references

According to Czech philosopher, Tomáš Kulka – there are three conditions for kitsch.

①

Creative Process Journal

Kitsch depicts objects or themes that are highly charged with stock emotions, ② the objects or themes depicted by kitsch are instantly and effortlessly identifiable, and finally, ③kitsch does not substantially enrich our associations relating to the depicted objects or themes. Her discography so far is ornamented with the kind of literary and artistic figures which men so often feel is their duty to explain to women. In keeping with that kitsch, Norman Fucking Rockwell (album) takes its name from the American artist, whose religionist depictions of early 20th century America still invite a broad appeal today. In her world, authors and auteurs are no more symbolic, and are taken no more seriously than luxury brands. Lana Del Rey does to men’s icons, even if unwittingly, what the world does to women’s. She simplifies them, enchants them, and turns them into commodity.

“KEEP LEARNING”

THE CREATIVE INDEPENDENT (TWITTER)

RUDY WONG

YAAAASSSSSSSSSSSSSSSSSSSSSS

Creative Process Journal

KITSCH FINDS

Found this at the Art Friend at Bras Basah. It’s considered kitsch not only because of the way the photos were took – with the cloud backdrop; but it is also because kitsch has to do with the concept of sentimentality. Kitsch is sentimental – by their nature, as kitsch objects arouse an emotion in the observer.

STUDIO FIRST DELIVERABLE

30/01

POST-DISSERTATION BRAIN

RUDY WONG

After much research, and with the insights Iâ&#x20AC;&#x2122;ve gathered for my dissertation, I became very convinced and held strong feelings for the so-called heritage and cultural loss in Singapore. I began looking at old archival photos of Singapore, and compared them to the present-day Singapore. I then wanted to go towards the direction of using kitsch as means to bring back the old aspects of Singaporean life.

Creative Process Journal

VISUAL RESEARCH AND COLLATED IMAGES OF OBJECTS THAT FEATURE A VISUAL LANGUAGE THAT CONNECTS TO OLD SINGAPORE.

CUPS AND COASTERS

RUDY WONG

I studied prints on cups and coasters, and decided to start creating kitschy cups and coasters for my first deliverable. To test if this works as a design solution to the issue. With the aims of bringing back old aspects of the Singaporean life back to modern Singapore.

STUDIO FIRST DELIVERABLE

Creative Process Journal

世

界快樂

世

Y WORL

界快樂

30/01

Gay World was one of three amusement parks built in Singapore before World War II. The other two were New World and Great World.

A popular entertainment joint before the advent of television and shopping malls. Before the war, Happy World patrons were kept enthralled by an east-meets-west mix of entertainment: cabaret, ronggeng, bangsawan, wayang, movies, gaming, sport matches, stunts, circus and shopping. The fees to these recreations were affordable, even for youths. It combined a heady mix of eastern and western forms of entertainment including cabaret, operas, movies, gaming, sport matches, stunts and shopping. Ravaged by fires many times, Eng Wah Organisation terminated the lease to the park in 2000, marking Gay World’s exit from Singapore’s amusement park scene.

RUDY WONG

Happy World (Gay World)

•

Creative Process Journal

STUDIO CLASS

31/01

30/01

THANK YOU!

RUDY WONG

Ben recorded a voice memo for me when I was talking about my project during studio class. And also took down short pointers that the lecturers gave as feedback for my first deliverable. Touched.com. Thank you!

FIRST DELIVERABLE LECTURERS FEEDBACK:

stanley: so this is to understand our history better? yasser: is it about understanding history? stanley: if it is a reminder of the past, then whats the purpose of us… rudy: because through singapore’s development process, it has caused a loss of culture and heritage, and the built landscape of singapore was largely changed, as a lot of old buildings were destroyed to make way for the new modern buildings. so the purpose of conserving culture in singapore is for nation building. stanley: so – trying to piece it in a way, at least for me to understand, so its about nostalgia yasser: are you looking at the design language specifically, and then you’re gonna apply the nostalgia component or use the design language to evoke nostalgia?

i think you’re trying to be very serious about your project, which i think is a problem, honestly. its about kitsch, its about the language, very unique. its a language that’s specific to an era. its a language that maybe the majority don’t get it. you wanna celebrate it. i think if you want to celebrate it then that’s fine, lets look at what it is–in its glory. but i think you’re trying to find meaning, and the area that you’re reaching out for has something to do with nostalgia and nation building and singapore identity. its confusing as hell eh, you know what I’m saying? alright, so i think you

need to remember what you have done last semester, and the spirit of your project, which

was very very enjoyable.

rudy: its for us to remember the past

you know, right now i think you are trying to justify it, you know some of the– you know what ok listen up guys. some of your projects right, i mean as much we want it to have context and content and objective right, you need to understand what your project is about, alright. i think what rudy is doing here, i think she’s trying to force something, which i mean

stanley: no the younger ones or the older ones? rudy: the younger ones. yasser: ok so its kinda confusing because you mention – you need to define what kitsch is first in the context of singapore, before you even move forward. because right now we see, obviously there are elements–i guess, elements of kitsch. this– does it have a name? sharing… rudy: is the mascot. lion. Creative Process Journal

yasser: i think it’s not clear. alright, you need to define. and you want to apply something, you want to evoke nostalgia– why do you want to evoke nostalgia, i have many questions la. i think honestly based on what i remember from your semester one project right, which to me was very successful.

stanley: the goal is for us to feel nostalgia?

yasser: who’s us? like these guys(lecturers) or these guys(cohort)?

stanley: the older people remember it better

yasser: it’s called lion? mimi: no its called singa yasser: singa! thank you, alright

obviously not successful, but i think its a good thing that you’re showing us, cause now we know like ok this is not the best way to go. you need to understand your project, you need the spirit of your project, where you’re going.

i mean if your project has a certain kind of like, light kind of like light tone to it, its ok. you don’t have to kind of like mash with something thats very heavy in terms of content and context right, so um– guowen: if i were to try to justify this project right, i would ask myself why is it so important to find value in kitsch, why is it so important to find value in the language. and that is

something that its in itself is enough to celebrate it (?), you don’t have to say that you’re gonna use it for nation building.

31/01

yasser: alright, so the thing is that, i think the project that was being looked at was of course, souvenirs you know the merlion and all that alright, its so ugly and horrible but there’s a certain kind of kitschiness to it that people enjoy. so maybe your project has different silos, where first is just a method of

archiving all these things first, and then look at all the different design language and then let it happen naturally. don’t try to make it very serious, alright, thank you.

[*claps]

GENERAL FEEDBACK STANLEY:

• appropriateness of visual language, formal, overall strategy, being constantly aware of what your audience is expectant of you • feedback applies to all projects because it’s transferable • do it already, even if first idea is not the best, you still do it because in your mind when you know

RUDY WONG

• wouldn’t know if you didn’t actually do

Creative Process Journal

BRUARY

25 project week

(06)

(07)

(08)

RUDY WONG

(05)

● update design brief + wip

(04)

*chi

19 ҈ roundtable session

12 ҈ roundtable session

05 nese new year

year

*chinese new 28

҉ student research seminar ● group consultation ● testing

21 ● work check, cpj (formative feedback)

14 ҉ student research seminar ● group consultation ● testing

07 ҉ student research seminar ● group consultation

22 • career fest

STUDENT SEMINAR #1 (NOTES) •

DEFINITIONS

•

OBJECTIVE

Be clear of what you want to achieve. •

PLAN

YASSER (CONSULT) – – – – –

07/02

Select a genre of kitsch Different permutations of kitsch Just start doing, start making — discovery! Celebrate but don’t need to commodify Study it

Communicate what kitsch is.

The kind of people you’re reaching out to and why / what you’re looking for. Have a plan of what you want to do*

12/02

ROUNDTABLE #1 (NOTES) •

WHAT IS THIS PROJECT ABOUT?

•

SEE IF IT’S A CONSISTENT LANGUAGE

•

TARGET AUDIENCE***

Creative Process Journal

Define who you want to speak to. Who is the information valuable to? •

UNDERLYING MESSAGE

What do you want to communicate? •

IDENTIFY KEYWORDS

RUDY WONG

KITSCH FIND

Creative Process Journal

SHOOT DAY

13/02

SHOOT So with a more simplified objective in mind â&#x20AC;&#x201C; which is to celebrate kitsch, and identify kitsch sensibilities, Iâ&#x20AC;&#x2122;ve decided to focus on studying and observing the visual language of kitsch in heartlands and cultural districts. As having gone through the series of kitsch finds that Iâ&#x20AC;&#x2122;ve collated, I found the kitsch in these areas to be particularly interesting.

Ang Mo Kio and Little India were chosen as Ang Mo Kio is one of the older heartlands in Singapore, while Little India is an ethnic enclave, with activities, businesses, and vendors that cater to the Indian ethnics and so, it will be interesting to observe the common and/or contrasting aspects between the two areas.

RUDY WONG

I set my day to go around Ang Mo Kio and Little India to observe and document kitsch in the areas with a photographic study approach.

Creative Process Journal

SHOOT DAY

RUDY WONG

13/02

Creative Process Journal

SHOOT DAY

RUDY WONG

13/02

STUDENT SEMINAR #2 (NOTES)

•

CORE MESSAGE

•

WHAT IS YOUR PROJECT ABOUT?

•

WHAT IS THE INQUIRY?

GROUP 2 CONSULT CONSULTATION WITH YASSER:

yasser: ok– oah this is scary rudy: yaaa i love thiiiis yasser: you love this? rudy: it’s very funny! yasser: wow, thats a horror movie waiting to happen eh. ok, alright can i– i know i asked you multiple times. what is the definition

of kitsch? in general, and then what is the definition of kitsch in our context in singapore

stand up and look at all these– it’s really very obiang

rudy: the definition of kitsch is art or design that is considered to be in poor taste, but it is appreciated in an unknowing way, or ironic way. yasser: ok so if you were to contextualise in singapore landscape, is it still the same or theres some varied differences? like the definition, not the corresponding visual form. how many you–

Creative Process Journal

rudy: i walk until i very tired you know yasser: orh, boohoohoo. got to do research ah, walk until very tired alamak rudy: ya so like–um what i observed was that– yasser: you guys can see this, you guys can

rudy: what i observed was that shopowners right, they like to use like generic images and create these kind of collage pieces. and like they like to compress images, and then– yasser: right right, the reason they like to compress is because of like, ok first they’re bad designers la, secondly, is space right rudy: ya i think to save space also, to make it like cheaper to print, to compress everything into one

yasser: ah, okok, the reason why you go round looking at visual language of the heartlands is because– why is it the heartlands? why is it ang mo kio?

14/02

rudy: uh, not only ang mo kio, this is little india also yasser: why these two districts? rudy: because ang mo kio is an old neighbourhood, so i thought it would have more– yasser: mature estates, ok. because the thing is that, as you have seen the last two sessions of students seminar and the first roundtable, its always trying to find– you need to have a framework for what you’re looking at. even how you’re observing things need to have some kind of framework. and how you apply

certain methods need to have a certain kind of framework. so if you’re looking at– is this your goal to, you’re looking at visual language of kitsch in mature estates?

this is because once you develop a system of deciphering, then you look at– ok there are fonts, there’s a collection of fonts, you have twenty different kind of fonts thats being applied. thats just design murder la you know. and there is also a wrong use of scale. and then you mention about this poster, how they like to stretch, so collect as many visuals of images that have been stretched and all that right. so that is one big giant kind of documentation exercise that you’re doing. then you need to decipher, then you need to try to analyse what they are, break them up into different components. rudy: so like there was this vending machine that i saw, or a fridge, where the owner literally drew this:

rudy: yup yasser: reason being? rudy: to document and like– yasser: thats objective, to document means objective, why you’re looking at–

yasser: was this well drawn? rudy: uh, its like this so i want to like– yasser: she never answer my question leh

rudy: yeah

rudy: it’s not well drawn

yasser: ok so thats good, because that’s the first step you should be doing, but how are you dissecting it, based on colours, based on font, design, based on space, based on 2d versus 3d

yasser: ah thank you

rudy: based on design yasser: i mean like i want you decide, i want you to have a system of how you’re doing this. alright, if its about 2d versus 3d, maybe its about activities or space, then you need to break it down. the reason why i’m saying

rudy: so i want to understand how these kind of things are created and– yasser: when you say you want to understand, you want to ask the people who– of the retail okok, that’s fine. in fact what would be funny is that, my house is potong pasir town council right, the town council banners are always damn ugly one. rudy: its all like this kind of style right

RUDY WONG

yasser: ok, even if you, so you want to dissect right, there should be some kind of method that you’re applying in a way right. i mean like, how are you dissecting it, there should be a method of how you’re going to dissect. this is just a method of documentation or collating right

like a cup right, and then a straw, and then he paste it at the side of the fridge and it has this label which says “cold”

rudy: ok, dissect values of kitsch

14/02

GROUP 2 CONSULT

yasser: ok so if you’re going to pursue that then there needs to be some kind of system, but then you mention that you want to look at that right, what is it that you are looking at. the kind of drawing? application or form or? rudy: the kind of kitsch created yasser: ok, by people? but this is also kitsch created by people what. then who did it? the higher force, the kitsch community rudy: like i want to find out who created them, like apart from documenting

rudy: because it is a cultural district. so i wanted to study chinatown also yasser: then geylang serai rudy: just like started from this to this, but i will expand yasser: so it will be islandwide? i know you’re very tired of walking, then you say islandwide then im a bit concerned. its fine its fine, i mean if you do islandwide i think it’s going to be amazing, its just that for the sake of time right, you might want to pick a very strategic area or areas la, when you say its about what heritage–

yasser: like those hand drawn things? ok, be very clear of the intention of your project. triangulate or create some kind of like uh– because you’re looking at the kitsch visual language in neighbourhoods. and then you said mature estates because they’ve been there longer, they have kind of populated the area, so you know they have also established establishments you know what i’m saying. theres a sense of community that important i guess, so you need to tell me you decided to

do neighbourhood because of these factors, these factors are important to determine the framework around your research. so this is the

Creative Process Journal

first get-go, and then following that after this, or you want to wait until this is done then you extract insights and then proceed to the next one?

rudy: cultural districts yasser: cultural enriched places right, then it could be that, or you want to look at heartlands, like the major heartlands of singapore, i mean obviously ang mo kio is one of the major heartlands right, so then heartlands. because i think that the certain kind of kitsch study could be a little bit different. because this is very ethnic-centric. theres a lot of south-india people that live there, its the epicentre of south-indian activities, so the visual language is very different, and is very unique to the ethnicity of the place. but the heartlands are a mix of many different ethnicities. it’ll be

good to see the different kind of contrast, so choose these areas based on a certain kind of framework, rather than being random, i’m

rudy: ya, i want to try to document as much visual language pool first

too tired to walk so i went to the nearest heartlands because my legs cannot carry me

yasser: right right, that’s good i think you should do it i’m just a little bit uncomfortable why it is ang mo kio because it is the heartlands, and its one of the older estates. and then theres little india. and you tell me its accessible because its just here, i’ll be very disappointed

rudy: no i already plan where to go yasser: i know obviously. ok, do the documentation first and then see what are the values that you get, but this needs to be done quickly, alright, ok.

SICK AGAIN????

16/02

IDGI

After class, I got herbal tea before I went home because my throat was already feeling iffy, but then it got worse and became flu, cough and fever....................

SOLUTION

RUDY WONG

To prevent myself from falling sick again, Iâ&#x20AC;&#x2122;ve decided to take vitamin c (daily), cooling water, and watermelon juice (when i feel heaty). Because recently, the weather has been bit iffy â&#x20AC;&#x201C; hot and hazy!

Creative Process Journal

CPJ WORKCHECK

RUDY WONG

21/02

STUDENT SEMINAR #3 (NOTES)

21/02

• MAKE SURE YOU ADDRESS YOUR PAIN POINTS, OR AT LEAST SOME OF THEM AS YOU PROGRESS WITH YOUR PROJECT, MUST REMEMBER TO ASSESS ALONG THE WAY.

JOINING GUOWEN’S CLASS

( 1 ) just shoot ( 2 ) analyse, read your images, what are they saying, a certain narrative that you’re able to capitalise on ( 3 ) develop a strategy, what other ways you can show it, other photographic strategies ( 4 ) go back and shoot again

• 1 take photos – what is the kind of photography you’re trying to go for? • 2 make sense of the photos eg. – find the values in relation to the space – evidence of old and new behaviours – living conditions

Creative Process Journal

• 3 what kind of mediums these photos come in – why did you choose this medium (to house these stories?) • 4 how do you pair this photo with these photos –drawings or annotations accompanying photos? – object of study needs to come to place once in a while – relationship between object and space — perspective, colour, composition, deadpan, angle, the space is a character, point of narrative – point you want to communicate through your photos — allows language to be consistent

*** what patterns are you trying to find out? what do they mean? what are they trying to say? • express your concerns for yourself moving forward

REFLECTIONS

I really enjoyed Guowen’s class, and took down notes that might be quite applicable for my project. And I also found the part where he got his class to express their concerns moving forward – to be a valuable pointer. As I agree that we should not feel afraid to express our concerns, problems or challenges, because it will help us realise our current stepping stones. Furthermore, this process would also invite our peers and supervisor to help us in terms of possible feedback or comments at this point.

RUDY WONG

21/02

KITSCH FIND

Creative Process Journal

CAREER FEST

22/02 NOTES

• • •

RUDY WONG

• •

know what you don’t want be interested, be interesting don’t be afraid to show your true self know the brand don’t want the correct answer, want your answer express yourself speak your mind want the designers to think boldly and make them feel uncomfortable

• • •

i Light Singapore Festival

Creative Process Journal

(favourite piece) FACEY THING

REFLECTIONS

Facey Thing is a fun and satirical celebration of the coming together of selfie culture and universal surveillance to create hyperreal simulated images of ourselves through the art of play.

Not really related to kitsch, but the intention for this installation was to celebrate selfie culture and universal surveillance in a fun way. I thought that it was done in an interesting fashion, and also noted that this particular installation sparked curiosity and interest in the audience at iLight. So I recorded this as a form of inspiration, or point of learning.

As passers-by come into range of the camera, facial tracking will identify their faces and blow them up onscreen as per spy television shows. When individuals become engaged and move closer to the screen, they can interact creatively by virtually painting with their faces.

RUDY WONG

23/02

(i Light Singapore 2019)

Creative Process Journal

ROUNDTABLE ANNOUNCEMENT

23/02

KITSCH FINDS

WIG CAP

HI MART PLASTIC BAG

OSP VAN

Saw this van just outside school and was excited as I thought it was cool that it has the same kitsch sensibility / design treatment applied to it! Will keep a look out for vans in future!

FOOD MENU STAND

RUDY WONG

NEW DISCOVERY

KITSCH FINDS

Creative Process Journal

GOLDEN MILE COMPLEX Similar to the beauty salons that could be found in heartlands, I’ve observed that the food shops at Golden Mile Complex have also printed images on normal copier paper. They’ve stuck them onto the walls and some were laminated. It was also interesting to note that some of the prints had changes made to them. Meaning that the dish names and prices were “edited” by simply sticking a sticker with handwritten adjustments made to them.

21/02

KITSCH FINDS

25/02

THOMSON, SIN MING

RUDY WONG

Spotted the [1] welcome banner â&#x20AC;&#x201C; with san-serif italic typeface, three orchid flowers and a grass background, [2] supplement ad on pvc canvas hung at a nippon paint outlet, and [3] massage ad that has clip-masked stock images, one of which has a mosaic face.

Creative Process Journal

SHOOT DAY

RUDY WONG

27/02

Creative Process Journal

25 ● open studio set-up – 80% of deliverables ● design brief finalised ● cpj work-check (formative feedback)

RUDY WONG

(12)

26 ҈ roundtable session ● open studio opening ● p2p with ba2

19 ҈ roundtable session

28 ҉ student research seminar ● open studio

21 ҉ student research seminar ● class critique ● open studio prep ● assessment, grad show briefing

(11)

14 ҉ student research seminar ● group consultation ● cross-class critique ● preparation and curation of space for open studio

(10) 13

(09) (term two)

12 ҈ roundtable session

07 ҉ student research seminar ● group consultation ● negotiate proposal

05 ҈ roundtable session

MARCH

(08) 30

Creative Process Journal

KITSCH FINDS

RUDY WONG

05/03

DESIGN BRIEF

•

DESIGN STATEMENT

object of study controlling idea context

A celebratory study of kitsch in Singapore neighbourhoods through the documentation of kitsch created by shop-owners, as means to communicate and dissect the values of kitsch from a graphic designer’s perspective. •

OBJECTIVE

The project aims to celebrate kitsch as demonstrated in the commercial establishments within mature estates of Singapore, through visual observations and documentations. •

SIGNIFICANCE

Through a process of visual study, the kitsch in neighbourhood shops are traced and its values are dissected. The project seeks to discover insights into the nature of how and why kitsch was created by the shopowners of mature estates. The project explores the relationship between the prominence of kitsch in the everyday life in Singapore retail shops in neighbourhoods and its production by the shopowners. •

TARGET AUDIENCE

Creative Process Journal

The study targets Singaporean shopowners of neighbourhood shops, and encourages the utilisation of kitsch for its easily recognisable symbolic value, and produce new blends of kitsch that is telling of Singapore’s locality.

RESEARCH METHODOLOGY

(1)

SELECTION PROCESS

•

The system that was adopted for the study is based on a selection process – that is determined by the age of the estates since its inception. As the older estates:

The older estates are called mature estates, and the maturity of an estate or town refers to its age. Mature estates therefore refer to towns that have been around for more than 20 years.

• •

Those that have been built more recently are considered non-mature.

•

Have been around longer Have more establishments that have populated the area Which then mean that the structure of the visual language of kitsch present in these towns would be more prominent and would therefore be more ideal to sample or study.

MATURE ESTATES

SITES WITH INFORMATION ON THE HEARTLANDS OF SINGAPORE City Population. www.citypopulation.de/ Singapore-Regions.html Housing & Development Board. www.hdb.gov. sg/cs/infoweb/about-us/history/hdb-townsyour-home&rendermode=preview

A LIST OF PLANNING AREAS IN SINGAPORE

MATURE ESTATES

NON-MATURE ESTATES

Ang Mo Kio

Bukit Batok

Bedok

Bukit Panjang

Bishan

Choa Chu Kang

Bukit Merah

Hougang

Bukit Timah

Jurong East

Clementi

Jurong West

Geylang

Punggol

Kallang/ Whampoa

Sengkang

Marine Parade

Sembawang

Outram

Woodlands

Pasir Ris

Yishun

Queenstown River Valley

Tampines

With the list of planning areas, I then categorised them according to its age:

Tanglin Toa Payoh

Serangoon http://www.citypopulation.de/Singapore-Regions.html

RUDY WONG

Rochor

BOOKS!

“The aggressive nature of the industrial world has produced a kind of large masses of things in monoculture, and I think the preservation of diversity in culture is something that’s important to us.”

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– Rob Forbes

RESEARCH METHODOLOGY

(2)

See for Yourself – Rob Forbes

How to See – George Nelson

The book is about how the author takes photos of the city, and make sense of the photos by categorising them, and introduces concepts and ideas such as: double take, transformations, geometrics, patterns, city floors, soft and hard. See for Yourself – Rob Forbes

This book is also about seeing, but the author looks at the everyday beauty in the city, and categorises his photos into the basic concepts such as contast, colours, geometric shapes, etc. Research Methodology (2)

So I thought that these concepts could form a secondary methodology for my research, and work in line with the mature estates research methodology to help dissect the kitsch values.

RUDY WONG

library@harbourfront

Went to the new library at VivoCity to take a look around the library, and found these two books, which talks about how to look at things, or how to look at the city.

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•

ROUNDTABLE #3

MY TURN!

guowen: so what are you going to do? jos: ya you want to tell us what you’re going to do rudy: I’m going to continue observing and documenting more kitsch, and then categorise them, print them and categorise them into the kitsch values and the research methodology stanley: what are the kitsch values again? rudy: like the element of festivity, easily recognisable symbols, the ability to reach wide audiences mimi: what do you mean by festivity? rudy: like a celebration– to celebrate a festival, or like a pause from life kind of thing, cause its not like what you see in the everyday, its like something fresh, and fun

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mimi: i thought something that is more derivative, cliché, and low… guowen: yeah well, i think ok, i mean i really like that you– this subject, i think its always nice when students picks up something like– its a very sophisticated concept right that you want to talk about. but the thing here is you might have misunderstood it. because if

has to be done in irony. and these shop owners are obviously not doing it in irony, they’re very sincere about their work.

yasser: their lack of knowledge guowen: right, if any kind of irony were to exist is because we are looking at it. but because we’re looking at it doesn’t make it kitsch. i

think kitsch has to be taken out of that context and then presented as kitsch. and that irony has to take on new kind of communication

because– stanley: again its [kich] not [keesh] ah, quiche is the one that i like a lot (preferably with salmon) guowen: sorry, [kich] yes, so my question to you is where is the irony? i do enjoy your readers because i think i might just read them because i haven’t seen them before, but i don’t think those readers were after kitsch, they were about the beauty of vernacular. and i think that is two separate things. um so, i suppose here the question here to ask is– how do you draw irony from these and how do you present this irony, and why would the irony be

helpful in enhancing ethnic culture? its a very tough pill to swallow there rudy: the ethnic culture is for sem one

you say that the shopowners are practicing kitsch, then i wouldn’t go that far. because

guowen: oh, so no longer is it?

then– because you did a very good definition of kitsch, at the start right when you said that it

rudy: ya

05/03

guowen: ok, then lets just forget what i said. no but then the irony part still is important

and i dont know this is kitsch, this is just me sounding off my business.

stanley: i suppose if you go back to this statement right, on guowen’s point right, your definition of kitsch right, must be appreciated in an ironic manner or must it be done in an ironic manner? because you wrote appreciated here

stanley: that is unknowingly yasser: but you as an observer, who is from a very learnt kind of perspective, look at it as like, oh this is a movement here you know, so that’s the separation you see

stanley: so doesn’t have to be created in an ironic manner, i create something now, i purposely do something that is in poor taste to appear like–

stanley: or must it be– according to what guowen said, or must it be that when i know that it will be taken that way, i know that people will laugh at it, i know that it is weird and out of place and it is in poor taste but i still choose to do it

rudy: then that is camp

rudy: uh, can also

stanley: ok, so then in that case

mimi: no i think it should be the former

guowen: but it needs to be presented as kitsch, it cannot be presented as vernacular

guowen: the former, yeah

yasser: the question is that whether kitsch kind of like, visuals are part of our vernacular also guowen: sure, but how do you present it, it has to be kitsch, as opposed to observational photography of vernacular pieces of work stanley: because guowen’s point is hinging on the fact that lets say the definition is, art, objects or design considered in poor taste, and done in an ironic and knowing way. but your definition which now you say that is considered camp right, so kitsch is, it can be– it might be done genuinely, but it is appreciated in an ironic way is that right? or must it be both? rudy: huh? stanley: do you get what i mean? one is about the viewer, the consumer, one is about the creator yasser: like if i produce that shitty kind of banner right, stanley: but he do it knowingly, he wants to make a point yasser: like yeah, i want to communicate my business, this is what i know, i put it out there,

rudy: cause jeff koons does that yasser: the balloon guy stanley: how do you think that is kitsch? rudy: the play or materials yasser: the subject matter translated into a sculpture from non-balloon materials, is the kitsch component? rudy: cause kitsch is about artificiality also, like trying to be something that it is not yasser: what do you mean by the former just now? mimi: like it should not be– it should be done

in such a way that the designer doesn’t have any preconceive notion that it is kitsch

yasser: right stanley: the creator, i mean if you use the word designer, they might think its us but, the person, the storeowner mimi: cause im sure thats– most of the time what’s happening right guowen: what kitsch is right, yeah, so i dont mean to say that the shopowner must be knowing about the process, but i think what

RUDY WONG

stanley: but appreciated is from us

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rudy: uh, by definition it’s appreciated

ROUNDTABLE #3

you must be concern about is how do you present the same thing to us, because these photographs that you have they are based off of the two readers– and they are not after kitsch, you see. right, the way they’re presented, the way they categorise is not after kitsch at all. so in which case then the way you present it has to change, has to be very different. rudy: ok yasser: i think i appreciate the fact that you’ve been going around taking pictures of, you know all these things that you term kitsch in like mature estates, and i think we had this conversation before, and i think i remember a conversation that follows, asking you– after you have compiled this and you archived this, i think you are kind of archiving it. so what do you do with it, so thats why when im looking at your plans for the next few weeks, they’re just headers, they’re not actual plans. you know, because then you mention that ok are you gonna extract all these values of what you studied like, what is kitsch value, from all these banners and all that. and you understand the values and see the patterns, whatever that it is. so what do you with it, how are you

going to communicate this, right. is there a need to communicate, what is it that you’re communicating, what is it for, alright. so i think

thats the part that is not really realised yet. because i think this is good you’re doing this. i think you are– based on our conversation you’re very motivated by all these banners, which i think its good thing to study, but then there’re more to it, you know. there’s no critical eye right now, this is just stating what you found, and you dont have plans next, which i think its alarming because you dont have a lot of time, alright.

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stanley: one of your objective you said that you want to encourage store owners to keep doing it, i think they will keep doing it, regardless whether you encourage them to do it or not. so that part seems a bit like no point. so i don’t think you need to do that. i think the point of it is that there is value in celebrating this, or into studying this. it reminds me a lot about

what vikas and mark dewing(?) are doing, they are documenting previous century signages in store signages, and they are not claiming that we should continue to do it because they know modes of production are changing already, we cannot keep creating them. because large

costs and everything. but then what then can be unique about theirs is they were able to define– which is what you wanted to do, just that you havent point out. so the critically that

yasser was talking about can be in the fact that you can define what then is unique about the way we have done it. which is what visas and

mark are trying to find. because singapore– because of the production methods, because of the materials available to us, because of the lack of; or the availability of the particular technical skills, we created type that way– last time, right. so then thats why it is now part of our visual culture, whether we see it or not. but then now, lets say its with kitsch, then what is the way that we have done it? is it a particular method, a particular style that we adhere to for whatever reason– guowen: some kind of pattern stanley: yeah, because of modes of production it is always printed on canvas, or its printed on whatever, or maybe even how is the canvas used, how there is a lot of vinyl stickers, you know yeah yasser: actually you even mention that you know that these banners are done by nondesigners or even like family, friends or even like people who think that they are designers but they are actually from like printing shops, right. so you said you wanna understand how

they go about, what is the brief that was given to them, how they are doing this right, so i think that will be really good to understand right. but that doesnt change the fact that– i

think there should not be this, i mean it goes for students here– there should not be this intention where you wanna give a solution to everything, we’re not here to solve everything or even something right. we’re just here to kind of like communicate whats being communicated. so then, later on i will forward you a link wen wants me to pass to you, which i think will be very beneficial. stanley: like a lot of uses of stock imagery, you notice that even for asian audience, a lot of caucasian are being featured for the beauty ads, you know rudy: but for the indian one they use indian stanley: oh really?

05/03

rudy: yeah stanley: oh, cool, then thats interesting you know, then i mean if you can point that out, a lot of juxtaposition being used, all these type of random stock imagery, you know yasser: but some of them i dont think its kitsch eh, like for me this thing is not really kitsch, its just bad design. is that kitsch? guowen: i think i would love to know what she thinks yasser: exactly, because she’s not communicating, because how do you decide what to snap? guowen: i mean for now you just snap a lot, but after that how do you make sense of it, how do you create– identify patterns

yasser: i mean i really appreciate the fact that you brought george nelson, one of the books on how to look, i think thats really good, thats actually a very fundamental book to look at observation and all that, and you have all these categories which is good but, that is what wen said then, he’s not looking at kitsch, he’s looking at how to look at things, what to look out for.

ROUNDTABLE DEBRIEF – consider thoughts and recommendations – understand that its our project and we decide how we want this project to be – if there’s specific issues in projects that are picked on by all five of the lecturers, it is a problem if they see the same problem – variations on how the project can be carried forward, its up to us to make it happen – decide how you want the project to be carried forward

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– be mindful of the time, realise the time left to produce prototypes, etc – thursday, briefing on open studio and final submission – week 13 is last class, last time to have official supervision with supervisors – don’t have a lot of face time left, make full use of opportunities

RUDY WONG

–who are you speaking to? what do you want them to do, what tools are you providing? –nature of the context

FURTHER RESEARCH

Mature Estates BY CHRONOLOGICAL ORDER Ang Mo Kio

Geylang

River Valley

(1973)

(1963)

(1991)

Queenstown Bukit Merah

Bedok

Kallang/ Whampoa

Serangoon

Kallang,

(1970s)

(1959)

(1982)

Whampoa

Bishan

Marine Parade

Tampines

(1983)

(1972)

(1980s)

Bukit Merah

Outram

Toa Payoh

(1955)

(1969)

(1966)

Bukit Timah

Pasir Ris

(1960s)

(1988)

Clementi

Queenstown

(1975)

(1953)

Bukit Timah Geylang Toa Payoh Outram Bedok Marine Parade Ang Mo Kio Clementi Tampines

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Serangoon Bishan Pasir Ris River Valley

05/03

AND DID FURTHER RESEARCH ON THE MATURE ESTATES

•

BEDOK (1970s)

Constant upgrading and rejuvenation since the 1970s have transformed Bedok into a bustling town. By March 1976, the Housing and Development Board had built 4,600 units of flats in the area. •

BISHAN (1983)

“Bishan” commonly refers to Bishan New Town, a self-contained estate built during the mid1980s to 1990s. Construction of the estate was carried out in stages between 1983 and 1989. •

BUKIT MERAH (1955)

By the 1960s, one- to three-room high-rise public housing sprouted quickly to house a growing population. •

BUKIT TIMAH (1960s)

In the 1960s and 1970s, Bukit Timah was a major industrial centre. Today, these have been replaced with luxury bungalows, terraces and condominiums, making Bukit Timah Singapore’s premier residential district. •

CENTRAL (1960s)

heritage was recognised by the government. Under the Masterplan of 2008 by the Urban Redevelopment Authority (URA), the development of the Paya Lebar Central, within which Geylang Serai is situated, into a centre characterised with a distinct cultural identity was confirmed. •

KALLANG, WHAMPOA (1959)

The Kallang housing estate is one of Singapore’s oldest housing estates. The Singapore Improvement Trust started the construction of Kallang in 1959. Kallang and Whampoa were merged into a single HDB town, and is home to an estimated 106,900 HDB residents. •

MARINE PARADE (1972)

Land reclamation works began in 1966, and has the distinction of being the first housing estate built entirely on reclaimed land. The first housing blocks were built on Marine Parade in 1972. Today, Marine Parade is a self-sufficient estate with commercial, recreational and leisure facilities woven amongst the housing developments.

•

OUTRAM (1969)

In 1966, the Housing and Development Board (HDB) purchased the site of the former Outram Road prison for $4.5 million. Then in 1969, HDB’s Urban Renewal Department built the first public flats along the road with the typical “shops below-flats above” slab-blocks concept.

• PASIR RIS (1988) The Central Area in Singapore is made up of areas such as Marina East, Marina South, In the late ’80s, the government built Pasir Ris Newton, Orchard, Outram, River Valley, Rochor, New Town. Much of the area was undeveloped Singapore River, to name a few. then, and space was allocated for residential, industrial and recreational uses. The town was envisioned as a coastal residential area with • CLEMENTI (1975) waterfront recreational facilities. Clementi New Town is the eighth new town developed by the Housing and Development • QUEENSTOWN (1953) Board (HDB). The development took place primarily between 1975 and 1979. Queenstown is a planning area and a satellite town located in the Central Region • GEYLANG (1963) of Singapore. It is one of the earliest housing estates to be built by the Singapore By the 1980s, the old kampungs in the Improvement Trust (SIT) and subsequently region vanished and Geylang Serai turned the Housing and Development Board (HDB). into a modern residential district. In tandem It also has the distinction of being the first with the urbanisation of the region, the satellite town in Singapore in 1953. importance of preservation of Malay cultural

RUDY WONG

ANG MO KIO (1973)

The development of Ang Mo Kio New Town began in 1973 and was completed in 1980. It had commercial offices, as well as cultural and community facilities. It was the seventh housing estate town developed by the Housing and Development Board.

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•

FURTHER RESEARCH •

RIVER VALLEY (1991)

Under the Urban Redevelopment Authority’s 1991 Concept Plan, the Clarke Quay and Robertson Quay areas along River Valley Road were zoned for entertainment, residential and hotel accommodation purposes. •

SERANGOON (1982)

Serangoon is a mature housing estate. Development of Serangoon New Town began in 1982, with the first few HDB flats being built as Neighbourhood 3 and as a portion of Neighbourhood 2. Subsequently, Serangoon Central started development in 1984 and was completed in 1989. •

TAMPINES (1980s)

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HDB began to develop Tampines Town in the early 1980s. The planning of Tampines Town was based on the Neighbourhood and Precinct Planning Concept. The first housing precinct was built at Tampines Neighbouhood 2 to mark a milestone in the evolution of HDB’s residential development typology in the early years of HDB history.

•

TOA PAYOH (1966)

Toa Payoh is one of Singapore’s oldest housing estates. It is the second satellite town to be built after Queenstown but it was the first to be conceived and built solely by the Housing and Development Board. Toa Payoh continues to be developed until today, one of the many HDB towns that have been built since 1966.

SITES WITH INFORMATION ON THE MATURE ESTATES National Library Board Singapore. eresources. nlb.gov.sg/infopedia/

FURTHER RESEARCH

05/03

Commercial Establishments i.e number count of shops located within the respective mature estates

WITH MOST SHOPS Ang Mo Kio

Clementi

Pasir Ris

(227)

(116)

(145)

Bedok

Geylang

Queenstown

(264)

(143)

(100)

Tampines Bedok Bukit Merah Ang Mo Kio

Bishan

Kallang, Whampoa

Serangoon

(132)

(159)

(105)

Toa Payoh Kallang,

Bukit Merah

Marine Parade

Tampines

(237)

(34)

(314)

Bukit Timah

Central*

Toa Payoh

(15)

(71)

(164)

Whampoa Pasir Ris Geylang Bishan Clementi Serangoon Queenstown Central Marine Parade

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*The Central Area in Singapore is made up of areas such as Marina East, Marina South, Newton, Orchard, Outram, River Valley, Rochor, Singapore River,

RUDY WONG

Bukit Timah

COMMERCIAL ESTABLISHMENTS Through rounds of observations and documentations, I’ve printed the photos that I’ve took and analysed the kitsch that was observed in the heartlands. And decided to streamline my research – to focus on studying the kitsch present at the shopfronts of shops.

• MOST NUMBER OF COMMERCIAL ESTABLISHMENTS A second methodology that was adopted in line with the first; was to search for the mature estates that contain the most number of commercial properties, to aid in the research and documentation process, as well as the search for kitsch.

SITES WITH INFORMATION ON COMMERCIAL ESTABLISHMENTS

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Housing & Development Board. services2.hdb. gov.sg/webapp/AA16RMSBusinessDirectory/ AA16SRetrieveMainTrade

SELECTION PROCESS

Selection of Heartlands WITH MOST SHOPS

Queenstown

Tampines

Bukit Merah

Bedok

Kallang,

Bukit Merah

Bukit Timah Geylang

Ang Mo Kio Toa Payoh Kallang,

Toa Payoh

Whampoa

Outram

Pasir Ris

Bedok

Geylang

Marine Parade

Bishan

Ang Mo Kio

Clementi

Serangoon

Tampines

Queenstown

Serangoon

Central

Bishan

Marine Parade

Pasir Ris

Bukit Timah

River Valley

RUDY WONG

Whampoa

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BY CHRONOLOGICAL ORDER

INTERVIEW DAY

INTERVIEW With the two methodologies, and having selected the few heartlands, I set my day to interview beauty salons that I have previously observed and recorded photos of. Namely, the ones that have kitsch displayed at their shopfronts. I had prepared a few questions that would help in my research; in the understanding of: • how these kitschy things were created (or made) • who did them • what inspired them

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And upon my first attempt to interview a beauty salon at Ang Mo Kio, I realised that the workers at most shops are generally Chinese PRC, which would mean that I have to prepare another set of questions in Chinese. And so, I translated the set of interview questions to Chinese with some help from my mates! :-)

(+SHOOT)

调查表格

What is your shop name?

商店名称

Was there an idea or concept behind your ads? Or was it solely for promotional means; to present your services visually?

您的广告有何概念？这些广告的用途纯粹是为了推销，还是为了做视觉宣传？

您会用什么词汇来搜顺这些照片呢？

UNDERSTANDING THE PROCESS

What did you search for to find these images? i.e search terms

您用了什么软件？

What software did you use?

您用了什么打印介质？

Where did you print them?

请问您这么张贴海报？

What printing medium did you use? How did you put the ads up? Or how did you display your ads? Please rank the order of importance for your ads:⁩ – Cost & Budget – Design – Attractiveness – Quality

您在哪里印刷您的宣传材料？

根据广告的重要性，请你顺序的把它们排名出来，从最重要的开始: – 金钱考量 – 设计 – 吸引力 – 质量

RUDY WONG

Did you employ someone to design it or was it done by yourself?

您是否有请设计师还是亲力亲为？

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UNDERSTANDING SHOP ADS

INTERVIEW QUESTIONS

INTERVIEW DAY

RESPONSE (1)

What is your shop name? Darshini’s Beauty & Spa

REFLECTION

Was there an idea or concept behind your ads? Or was it solely for promotional means; to present your services visually? To let people know what kind of services we provide and also for promotional purposes

Unfortunately, out of the five beauty shops that I’ve approached, only one was able to complete my survey. Because coincidentally, it was the store’s opening day, and so the shopowner happened to be there, and very kindly agreed to answer my survey questions.

Did you employ someone to design it or was it done by yourself? Employed a designer

I realised that the staff of the beauty salons are not really willing to help me complete the survey, and that they’re either busy, or they genuinely have no clue as to how the advertisments and posters were made – as they were “handled by their bosses.”

What did you search for to find these images? i.e search terms Beauty services What software did you use? NIL Where did you print them? Printing shop

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What printing medium did you use? Sticker, paper How did you put the ads up? Or how did you display your ads? Sticking on and using stand Please rank the order of importance for your ads: All important

And I also realised that even if I were to interview the shopowners (as seen in the survey response), they would not know the making process of the ads, as they would’ve enagaged a designer(?) to design their ads. Therefore, I decided to think of another route after hitting this wall.

(+SHOOT)

THANK YOU!

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RUDY WONG

But having said that, Iâ&#x20AC;&#x2122;d like to thank Darshiniâ&#x20AC;&#x2122;s Beauty & Spa for being so nice and accommodating, for letting me into her salon to rest while she answered my queries!

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SHOOT NOT REALLY A SHOOT DAY THOUGH, AS THE AGENDA FOR THE DAY WAS TO INTERVIEW BEAUTY SALONS

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(ANG MO KIO)

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DISSERTATION FEEDBACK FORM

07/03

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RUDY WONG

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DISSERTATION FEEDBACK FORM

07/03

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(

THE DAY THE BIRDS FLEW IN

)

STUDENT SEMINAR #4 (NOTES)

• •

07/03

WHAT IS THE LACK WHAT IS THE INSIGHT

GROUP ONE CONSULT

• 1 work should catch attention – give them a chance to stop

– *WHY is this medium used to as a form of communication tool

• 2 it’s very important to bring work and show actual work

• 5 operate from an informed perspective

• 3 test-print, print – so that we can react to the work because what we see on the screen is very different; the scale, paper stock...

• 6 communicate what kitsch is, and present it

MOVING FORWARD

what do you intend to do why do you need the (exhibition) what is it for what is it celebrating

RUDY WONG

• • • •

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• 4 case study video – what are the different types of video – videos used to communicate their process, (makings of kitsch) – what is the purpose of the video

EMBRACING FAILURE TALK

•

Intelligent failure – Rita Macgrath

•

Pitches are everyday. They just come in different forms.

•

Break the fall Before the failure

•

Own your failure, You’ll learn more.

•

Black Box Thinking – Matthew Syed

•

Don’t be a douchebag.

•

改善,

•

Learn and reflect.

•

My way is highway.

•

If something sucks, Admit that it sucks.

•

Answer a brief in a way that is, disruptive and entertaining.

Iterations, change.

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• “Most ideas are a bit scary and if the idea isn’t scary, it is not an idea at all. – Lee Clow

Good fear Leads you to do something great.

•

Bad fear Comes from failure.

•

Burn your ship.

•

Learn how to pee your pants. Don’t be afraid to be embarrassed.

•

Be fearless Don’t be like everybody else.

•

Don’t be afraid of trying.

•

Be eager, have passion But don’t be stupid.

•

Believe in yourself Don’t give up.

•

As a designer, it’s your job to create something that’s not been done before.

•

Use creativity to solve problems.

RUDY WONG

•

08/03

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(72andSunny)

KITSCH FINDS

08/03 During the consultation a few weeks back, i mentioned that I saw a hand-drawn sign that was stuck onto a freezer, and so i thought that I should go back to take photos of it.

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09/03

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RUDY WONG

I’ve also spotted a recurring pattern, and that is – there’s a tendency to paste another layer onto the original layer when there’s something that needs to be changed or edited. It could either be handwritten, or printed.

KITSCH FIND

11/03

AH SENG DURIAN

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More vehicles to add to the visual archive of kitsch! This lorry spots a row of durian images.

ROUNDTABLE #4 (NOTES)

• SELECTION CRITERIA – What was the selection criteria that informs the decision? *** – Chronological – Timeline / Timeframe – Selection / Elimination

LOOK AT OTHER PROJECTS

•

TARGET AUDIENCE***

– Speak to your target audience

MOVING FORWARD

• time • open studio is the best time to test ideas • respond by week 12 • group 2 act quickly • show sketches RUDY WONG

• DELIVERABLES – What is the purpose for the deliverable

•

– Methods that you could can try – Or improve on / learn from – Strategies they take on to address the matter

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• OBJECTIVE – Be clear of what you want to achieve.

12/03

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KITSCH GUIDEBOOK (COVER)

•

COVER DESIGN

The cover design was in reference to the kitsch found in heartlands. The use of stock imagery, close up shots of eyes and lips, the placement of images, the forced shrinking and distortion made to images, and the colour red – which is a commonly used colour.

REFLECTIONS

I must say, that I really had a fun time with the cover design. And at the same time, it was also quite entertaining for me because these types of treatment to images are something that we would steer away from, but whilst doing it, I found it to be quite liberating and amusing (in a good way).

( FOOD PLACE AT LITTLE INDIA )

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( BEAUTY SALON AT AMK )

RUDY WONG

REFERENCES:

KITSCH GUIDEBOOK (CONTENT) â&#x20AC;¢

VALUES

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The guidebook showcases the values of kitsch. These values were extracted from academic readers that talk about what kitsch means, as well as its connotations.

14/03

CLASS CONSULTATION

TO DISCUSS •

SHARE UPDATED METHODOLOGY (1) mature estates (2) number of shops

•

VARIATIONS IN SHOPS (1) food (2) beauty (3) electronics *is it ok?

•

SHARE SURVEY AND RESPONSE – findings – limitations

WAS DISCUSSED

• 3 The context in which my findings are presented is important • 4 Other representations – eg, decals, festive banners – design sensibilities and the visual language in heartlands

• 6 What do you do with these collection?

MOVING FORWARD

• use open studio as a gauge • prototypes • move faster RUDY WONG

• 2 My take on it – could create a series of design as a response to the kitsch visuals that I’ve observed and collected

• 5 Commercial – if I were to focus on just one shop type (food, beauty, electronics), I would be limiting myself, so it’s ok to look at commercial establishments

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• 1 Check out print shops at sunshine plaza and peace centre – leadership at peace centre – vanessa saw some prints at the dann lim print shop (they might’ve done designs for beauty shops)

VISUAL RESEARCH

(HAW PAR VILLA)

17/03

Haw Par Villa has been associated with kitsch, and was even described as a “Crazy kitsch wonderland”. I was curious to find out why, and paid the cultural park a visit.

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REFLECTIONS

After the trip, I finally understood why the place is considered kitsch. It is because the statues and figures are painted with very bright and loud colours. And although the human statues feature intricate details and forms (which quite honestly blew my mind); they don’t look too realistic, and the colours also contributed to the overall “cheap” look. Which I guess that’s why the place is deemed as kitsch.

RUDY WONG

17/03

135

SHOOT DAY

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SHOOT DAY

137

As I was taking photos of the shopfronts, it was getting a bit difficult to see what was pasted on the glass because of the reflection. So then I went to the back of the shops, and it was also where vehicles were parked. Then I made an interesting discovery as there are more kitsch at the back part of shops. There were light boxes, acrylic boards and banners attached to grilles, and more vans and lorries to be found here too!

RUDY WONG

13/02

INTERVIEW DAY ONE

(SUNSHINE PLAZA)

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Q 0

Name of establishment

How did the client know about your establishment or how did they approach you?

Was there an idea or concept behind the ads? Or was it solely for promotional means; to present your client’s services visually?

Did the client provide you with assets or information or menu for the ad? Or something that needs to be specially highlighted?

What did you search for to find these images? i.e search terms

What typeface(s) did you use for the ads? Is there a reason for the usage of this typeface? [where were the typefaces from]

What software did you use?

What printing medium did you use?

How were the ads placed or displayed?

What was the deciding factor for the placement of the ads?

Was the design of the ad restrained by the budget given by the client?

Which factor do you think was the most important to the client?

– Cost & Budget – Design – Attractiveness – Quality

(1) EAZY-PRINTZ

• The print shop will inform the client that they offer design services, they also advertise their design services on their site, its all written on their site.

(3) PRINTING STUDIO

18/03

• The design would cost an additional fee of $50-$150/-, on top of the printing fee. • Send an email with the brief, stating that you would like to engage with their design service, the size of the poster, and how you want it to look like.

• Designs based on how the customer wants it, place it text, place in images, different price for different print size. they will design based on requests of their client. • The design process will take awhile – for about one to two weeks, due to the rounds • Client usually provide them with their of edit for the desired design. own photos– the results. Then they will do the layout for them. The client must provide (4) DANLIM PRINTLAB an idea, the kind of idea that they want, and they will follow their idea and do a few • They can get a part-time designer to iterations of the design and let the client contact you, and deal with you directly. select the design that they like best. It’s either part-time students, or design students or full-time (freelance designers). • Uses Illustrator and Photoshop.

• The cost for downloading the images will not be included in the design fee. You just have to pay for the design service – unless the poster has a lot of texts, then that would mean that you’ll need to pay an additional fee. • The design of the promotional poster would cost about $100/- at the factory, but it would be a lot cheaper if you could search for the images on your own, and they will add in simple texts for you. • Just have to search for the images, and then return with the selection of images, and tell them how you would want to arrange the text and images. The print shop will do it for you.

• It is totally free, and by doing so, you can save a few hundred dollars. (5) PRINT THAT NOW!

•

Design is $150/-

• The design fee and printing is depending on the size of the poster. If you want a sticker on the door, then you need the specific measurements for the door. Do you want the sticker to be stuck on the inside or outside of the door, is it a see-through sticker (transparent), which there are two kinds to it–the frosted and the reverse print (transparent). And also, if you have white ink in the sticker, there will be an additional cost added to it because, if you print the transparent sticker, the colour will also turn out to be transparent, so if you don’t want the a see-through colour, then there will be a need to print another layer of white ink on the sticker.

• The printing material would be according • You can either provide the images, or to the size of the ad that you want. The the print shop will help to search images print shop only provide one kind of printing for you. medium for an A1 poster, but you could decide if you want to mount it or not.

RUDY WONG

• Find the photos on shutterstock.com on your own discretion, they’re subscribed to a plan at the site, you just need to search for the images and tell the shop the images that you like, and they will download them for you.

• It’s best if you have a simple design. You can do it on your own on canva.com, it is a free website to create designs, and you can start by registering with an email.

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(2) ISUCCESS SOLUTIONS

INTERVIEW DAY TWO

(PEACE CENTRE)

(6) APPLE GRAPHIC PTE LTD

(7) HO SERVICES

•

Design and print for an A0 poster would be $75/-, and there would be an additional cost of $20 for the stand, which would come to $95/- for both the poster and the stand.

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• You will have to provide the images for the print shop. Otherwise, you could also give a reference as to what kind of images you want to include in your poster. • The pricing of a glass sticker would depend on the size that you want it to be. • If you’d like to focus on a particular service, you can tell them and they would design it accordingly.

19/03

• You’d have to provide images for the design, otherwise they will do a search online for you • The design would cost $30/-, and it would be $36/- for their printing service. •

They have fonts/typeface for the texts.

• The stand would be about $20/-, and the easel is more expensive as compared to the stand, it will be about $100/-.

RUDY WONG

19/03

141

KITSCH FINDS

DESIGN BRIEF

(UPDATE)

object of study controlling idea context

obje c t i ve

•

A celebratory study of kitsch in the commercial establishments within Singapore neighbourhoods through the documentations of kitsch, as means to communicate and dissect its values from a graphic designer’s perspective.

The project aims to celebrate the kitsch as demonstrated in the commercial establishments within mature estates of Singapore. By identifying kitsch through visual observations and documentations, the aim of the project ultimately seeks to understand the prominence of kitsch in the everyday life in Singapore, and reasons for it being part of our visual culture.

•s

i f ic a nc

e•

ig n

Through a visual study approach, the kitsch in neighbourhood shops are traced and its values are dissected. The project searches for kitsch in the heartlands, and seeks to discover insights into the nature of kitsch – what it is used for, and also attempts to understand the process of how its being made.

• ta Creative Process Journal 142

aud ie n

ce •

get

The study targets new tenants of Singaporean heartland stores, and②printers alike, to encourage the utilisation of kitsch for its easily recognisable symbolic value, and produce new blends of kitsch that is telling of Singapore’s locality.

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RUDY WONG

KITSCH GUIDEBOOK (CONT.)

KITSCH GUIDEBOOK (CONT.) â&#x20AC;¢

KITSCH ELEMENTS

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Creative Process Journal

The second section of the kitsch guidebook includes a breakdown of kitsch elements, in terms of the typeface, image, graphics and symbols used.

RUDY WONG

SLOT-INS

145

KITSCH GUIDEBOOK

STUDENT SEMINAR #6 (NOTES)

•

Uncover interesting patterns

•

How you categorise them

• Uncover value, at different levels: value from people who produce it, the people who commission it •

CLASS CRIT

The benefits of why people do this

this thing, yeah. and then this is like basically a book that um– yasser: use the same kind of like visual language rudy: yeah, so it starts by saying where kitsch was from, and then the definition, then the attributes and values of it. i plan to like include more pages la, like build on it after this. and then there’s this last part–where i dissect the elements of the already existing–

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yasser: ok, anytime you’re ready rudy: ok, so like i went to interview print shops right, and then i realise that they actually do designing also. yasser: really? wa, they’re bad designers eh rudy: and like they would charge design and prints differently. so i asked a few questions, and got insights, and compiled them into like

yasser: ok, how do you dissect it? based on what? visual ah? rudy: there this one yasser: ooh, hello rudy: so this one, i found the image eh! and then– yasser: I’m happy for you i guess? oh, look at this.

21/03

rudy: its very shady! yeah, so i intend to like build more on this section of the book

celebrate and use the visual language as a you know, like a form of an actual practical kind of usage you know. like your target audience are

yasser: that’ll be great, i like this

the new shop owners

rudy: and also, another part is designing my take, or response for this. after collating all the images, and elements, and

rudy: yeah, new shop tenants

rudy: secondary target audience are the print shops yasser: right, right, ok. i like the collation. i mean, cause theres a very archiving attribute

rudy: its like a lightbox thing i think

to it but i think the application part is the one that i want to see. that’s the part two of this

yasser: ah, lightbox thing, pretty cool. ok. um, i guess coming along? i would say? what do you guys think about this?

right

rudy: but the thing about my target audience im not too sure cos

sun: i want to see like how the customers react to these

yasser: yeah, who’s your target audience?

yasser: also, yeah, that would be interesting

rudy: that time i said shopowners, but then i wanna encourage them to use kitsch right, but stanley brought up during my roundtable session that, they already practice this so

sun: do they like it or do they not like it

rudy: yeah so i change it to like, new shopowners yasser: right, in the neighbourhood la rudy: yeah yasser: i think the thing is that we do not want you to be very preachy about it like, and preach like, you know design should be this way. because they already embrace the kind of visual language then how do you like celebrate, right? this was what we mentioned marcus: you know those massage place, they have the diagram thing, the design, i think its very nice as a design element yasser: but how do you–are you gonna do some kind of real application work? are you gonna you know like, there are different ways of celebrating this. this of course, you’re trying to collate and archive in a way, but how do you

yasser: that’ll be great, because then, but whether its important for them to like it is the other question right i mean like they go there, they want to have the service, they dont really care about the–they just want the information right rudy: but the thing about this is that like, these type of beauty and spa places right, the people working there are not really approachable yasser: yeah of course of course, all these shady things happening right? rudy: yeah yasser: yeah but i mean, i think in terms of visual language its already set up already, for me its the application component, how do you celebrate this, how do you use this visual language, what’s the different permutation of application you know, alright? rudy: yup, ok thank you! RUDY WONG

yasser: yeah they are what, they use it because its part of their normal practice

rudy: yep

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yasser: can you get one of these stands uh? it’ll be so funny if you’re able to do this for final submission. using the kind of visual language. im just saying like, whether you can find this thing.

yasser: probably so, just wondering how its gonna be applied

CLASS CRIT

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CLASS DEBRIEF – – – – – – – – – –

be confident in your design! week12 user testing ba2 coming in to look at your work with fresh eyes accept feedback need to communicate project should be 80% done for open studio take it seriously start thinking how you want to put your portfolio together think about the kind of work you want to do when you graduate be prepared for grad show, plan portfolio (we’re the last institution for grad show)

21/03

RUDY WONG

22/03

149

OPEN STUDIO PREP

KITSCH GUIDEBOOK

REVIEW SIZE

Realised that the size of the guidebook was a little too small, so I decided to review the size. And increase the overall size of the book for better handling and viewing.

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( 105 x 170mm > 147 x 239mm )

SLOT-INS

The previous time I did the slot-ins, the fold lines were very unsightly because it wasnâ&#x20AC;&#x2122;t scored properly before folding. So this time round, I exported the pdf file with visible guides and grids which would help in the scoring and folding process.

RUDY WONG

FOR SCORING

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KITSCH GUIDEBOOK

ATTACHING SLOT-INS

I also had to think of ways to attach the slot-ins to the guidebook, and I thought it would be quite apt to use tape and rubber band, as these are the kind of materials that Iâ&#x20AC;&#x2122;ve observed which are commonly used in heartland shops.

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( RUBBER BAND )

( SCOTCH TAPE )

INTERVIEW BROCHURE

I displayed two kinds of brochure types to test out which works better, one of which was the two piece saddle stitch and the other, a two-fold brochure.

RUDY WONG

( TYPE 2 )

153

( TYPE 1 )

TESTING BROCHURE FORMAT

OPEN STUDIO SET-UP

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( printing )

25/03

155

An Qi Spa and this massage place at Bedok use the same stock image!

RUDY WONG

KITSCH FINDS

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KITSCH FIND

26/03

JMICE.COM.SG

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RUDY WONG

Spotted this truck along Prinsep Street and quickly took a picture of it before it drove away. The exteriors of the truck is decorated with red, yellow, blue, green texts and graphics. So then I went to their site and interestingly found the a picture of the truck too!

PEER TO PEER (WITH YEAR 2S)

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OPEN STUDIO OPENING

26/03 CARA LOH!

PERFORMATIVE OBJECTS AS SOCIAL CATALYST Though Cara and I have took on two very different topics, we still tried our best to listen and give constructive feedback to each other. I found her choice of topic to be very intriguing, as her project scope is about how the function of performative objects are sort of subverted in a way, and it also includes a social aspect to it as well. I realised that the case studies that she has picked out are of two different categories – tactile vs technology. So I was curious to know what might differ between the two. And as for the music-based case study – silent disco, I wondered if the body could act as an object, and pointed out that there’re other sensoral factors that might contribute to the performance of the performative objects. Such as the lighting, smoke machine, and space, just to name a few. And also suggested a few other examples that she could look up on. Steve Aoki Zero-Gravity Rave, Dine in the Dark, etc.

Cara’s feedback + thoughts: • Trustworthiness of the shops. How is it that people are able to trust these shops, given the sort of photographs that are plastered on their shopfronts?

• Visualisation > People. The idea of visualisation from an image to body modifications/enhancements/semi-permanent facial treatments.

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• Exhibition to celebrate movement. It would be nice to have an exhibition to celebrate kitsch by showcasing photographs and findings.

RUDY WONG

• Interview non-designers. Gather views from them and see what they think of these ads.

FEEDBACK/TALK

rudy: mm, yep yasser: ok so what have you found in terms of what is – like for example, this is your dissection, so you need to be able to see, ok, what is the visual language here, alright, and how are the images printed here, so it needs to be clumped together, you know like it needs to be informative la ok. you need to identify and be informative about it. rudy: i think i kind of did it here yasser: ok, i did not read through rudy: o ok yasser: i also find that you need to score first before you – you know you see this opening right

yasser: cos you did not score ma, you know what’s scoring right

yasser: like for eye test one ah

rudy, yeah yeah

rudy: non ono like those kind of a for whatever, b for whatever

yasser: you score first then you put it together it will not be like this

yasser: a for apple, for kids those kind ah

rudy: o ok

rudy: no, but like for example – the types of font that they use, a collation of treatment to images, colours and all that

yasser: yeah so do that ok

yasser: this is for who uh? who will get it ? rudy: um, for the new shops or printers? yasser: ok, so your target audience are printers uh? to educate them? i thought it is celebratory study… ok, one of the questions i ask is how–

Creative Process Journal

rudy: the celebratory component is not there, i know, i know

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rudy: mm

rudy: moving on, i want to make like charts of a collation of all these – you know like this kind of abcd charts, but in the form of this. so like a collation–

yasser: ok, defensive rudy: hahaha, yeah so i also plan to like– yasser: you also mention that you’re going to dissect, communicate and dissect values right, so you did that already yeah

rudy: then uh, i plan to make an exhibition in a van yasser: *laughs* rudy: why you laugh yasser: i don’t know, its so funny, but why? in a van ah, then you park here is it rudy: uh, that’s the thing, i don’t know where to like to put it yasser: you want who to see? rudy: my target audience right? yasser: who are they? the printers and the what rudy: printers and shopowners

28/03

yasser: ok, how do you expect them to see? rudy: i dont know if it’ll work if i– yasser: could it be a secondary target audience? like design students? rudy: yeah, that is my – yeah that is yeah-

yasser: i would rather have, ok thats fine you can use that, but i also want to see decals like this, you know the type. do you know anybody who has a van? rudy: rent? yasser: rent uh, nobody has a van meh? sure got somebody who has a van what

yasser: so you need – then you have to communicate separately

rudy: ben has a van

rudy: then i have so many target audience

yasser: ben ah, which ben, benedict ah?

yasser: how many you have?

rudy: yeah benedict

rudy: shopowners, printers, students, isn’t that a lot? thats like everyone

yasser: BENEDICT!

yasser: it is la, shopowners– i yeah it cannot be so disparate la you know, if you say you want to celebrate kitsch and you want design students to kind of be on board right, then your target audience will be design students rudy: i think it makes sense if i target students instead yasser: ya then you can park the van here

rudy: i haven’t speak to him about it yet, he doesn’t know you know yasser: hey ben! i heard from rudy that you have a van ben: i have a van yasser: why do you have a van? ben: my mom teaches zumba, so then she brings her–

rudy: can ah /interruption yasser: i dont know, need to ask uh… but why van? rudy: because i realise that its not just at shopfronts, like they have carriers of kitsch also

yasser: ya so your mom, does she drive it all the time? ben: uhh yasser: do you have a picture of the van?

yasser: what is carriers of kitsch? those vans are carriers of kitsch uh rudy: yeah, like even vans also have this kind of aesthetics applied to it yasser: ok lets say i approve right, then what goes on the van? rudy: mm, my findings and images that I’ve collected

ben: let me check yasser: just helping la, it might not happen so ben: why do you need a van? rudy: yeah, to host an exhibition ben: in the van? rudy: in the van, and on the van yasser: exterior and the interior, no I’m– you can say no you know rudy: i can always rent a van

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rudy: cos u know they have this kind of mesh also, so i thought i could clip it on also

RUDY WONG

yasser: on decal? expensive uh

FEEDBACK/TALK

yasser: but since you have a van, we just ask first, she can like treat you to a very nice meal

ben: ok can can yasser: thanks ben

ben: is this like throughout the whole grad show? yasser: nonononono, maybe just for the submission, just for the grad show, it’ll be awesome la, but then we cannot put it there la for the grad show because vips are coming in, you can even park it in the basement carpark, because there’s a lot of space downstairs

ben: no problem yasser: benedict is so nice rudy: yeah, alternatively, its a lightbox yasser: no rudy: ???? *laughs ok

rudy: ooh yasser: ok anyway ben: i need to check with my mom yasser: the picture of the van? ben: i don’t have a picture of the van yasser: what kind of son dont have a picture of the mom’s van? just kidding, i mean if she’s fine with it, im just saying, but if you say she needs the van all the time, then that’s cool. rudy’s gonna rent a van

yasser: actually i was thinking about it, it could be a lightbox, it could be the pvc banner, it could be that, then you go back to the actual medium yeah, that would be interesting. but if you were to print your artwork on pvc it would take awhile, and it would cost money also, i dont know how much it will cost but its the right medium to use. so now the thing is that– ok so you want to celebrate right, you need to dissect and you need to write about these values, and then how do you– rudy: extensively? yasser: in detail la

rudy: but alternatively i could use this one rudy: okok ben: its this one

yasser: why is your mom going to Switzerland?

yasser: so i think it needs to be in detail because it needs to show that you are studying this. secondly, how do you celebrate this, what are you celebrating– the values? and then if you want people to embrace the celebration, lets say a design student. because design students would think this – they’re called like ugly design la. kitsch is considered ugly design. how do you want designers to appreciate something like this, alright. having said that right, i understand that you’ve already done your research from, or for shopowners and printers right, makes sense?

ben: go with my brother ah

rudy: yeah

yasser: the chef

yasser: but i think its interesting to see a combination of things, because right now, you know that for final submission its the entire table, right now theres no scale, its very small. i mean i understand the need for it to be like this because its a study but eventually there needs to be a something, like a structure besides this

yasser: awesomeeee, this one is like an awesome van, alright thank you very much /laughs ben: you let me know when you need it, cause my mom will flying to Switzerland doing the grad show period

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me: *gasps

ben: yes yasser: so he’s the favourite son ah? im just kidding! /laughs

28/03

rudy: yeah, how much is it to print a decal? yasser: oh, depending on the van or what? like to cover a van? ok theres two things they could do– vehicle adhesive can cover the entire car. as in like they use tape right to cover the entire thing, you can design and they can cover for you, that is called wrapping ah, not xiao long rapping, just in case you dont know the difference

(

yasser: then you can have like decals where its just individual patches, those are expensive because they need to laser cut for you. it can as cheap as–because we used to have a supplier that does stuff for us, it can as cheap as $50 for a patch right, it can be $500-600, yeah so depending rudy: *nervous laughter ok yasser: so if budget is a concern then you need to–yeah rudy: ok can, thank you!

END OF OPEN STUDIO, GOOD JOB EVERYONE

)

RUDY WONG

yasser: yeah you could do that, its up to you. plus the van or whatever it is, makes sense?

rudy: *laughs i know

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rudy: i could do a pvc banner and hang it or something

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OPEN STUDIO

(FEEDBACK)

29/03

EMAIL FROM YASSER

Moving Forward • Curate your space strategically and with intent • Review and update your Design Statement , check for grammatical errors and sentence construction Dig deep, you can do this Rudy. See you next week, thank you and regards, Yasser Bin Suratman RUDY WONG

Overall For a collection of a year’s worth of studio research, the works produced lacked 4 major things. Namely: Volume, scale, creative variety and craftsmanship. What this means is, (1) there is not enough deliverables to support your research topic, (2)lack of large format works, (3) visually, the works displayed looks flat due to a restrained variety of deliverables and (4)poor quality of crafting.

Individual Work • Good initial collection of Kitsch visual surveys • There is a need for you to score the pamphlet before putting it together. • What are you gonna be doing with the interviews that you have compiled? How are you “dissecting the values, how are you communicating them. Then what are you going to do with the attributes?? • How are you “celebrating” Kitsch? • Who would the target audience be then?

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Hello Rudy, I have put down some notes for you to refer to with regards to your Week 12 performance. Overall I think that it was a decent showing by the class but they are a few areas that can be improved on before the final submission on week 16.

BRAS BASAH COMPLEX

• • • •

A0 – gloss, red $60 Text is possible Comes in die cut + transfer paper Will not leave marks on vehicle

Went down to Bras Basah to inquire about the decals, the different types of display methods and stands available, and to also look for the cosmo popcards that are used in heartlands.

( Art Sign )

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( Seng Yew Book Store )

( Lim Sign )

( Art Sign )

29/03

Artmark is a stationery shop at Bras Basah that sells all sorts of things, including paper. So thatâ&#x20AC;&#x2122;s where I got the paper for my charts. As kitsch often feature bright and loud colours, so I figured that the use of fluorescent colours/paper would be ideal for the project.

( Artmark )

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RUDY WONG

And also bought a few other gradient fluorescent papers.

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ONLINE PORTFOLIO SUBMISSION

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29/03

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(16)

(17)

RUDY WONG

29 ● final submission + viva voce

08 independent study week (consultation via appointment)

(15)

171

APRIL

(14)

02 ҈ roundtable session

04 ҉ student research seminar ● class critique

*good friday

(13) 27

KITSCH CHARTS

LIBRARY OF KITSCH

The kitsch chart is informed by the rounds of shoots and kitsch finds in the heartlands. The charts are a nonexhaustive compilation of kitsch elements, and are sorted into three categories: • CHART 1 A typology of kitsch imergery – a series of treatments to images as sourced from stock image sites. • CHART 2 A non-exhaustive c ompilation of typefaces ( or fonts) c ommonly used in kitsch ads! • CHART 3

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An assortment of graphical elements as observed in kitsch ads.

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I started by taking quick screenshots and close-ups of the kitsch elements, and plopping them into a folder. which then forms a reference point, or kitsch library for the content of the charts.

RUDY WONG

LIBRARY OF KITSCH ELEMENTS

KITSCH CHARTS

DESIGN & LAYOUT

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Then I created a 30-sided starburst shape, and tried to create one that’s most similar to the ones I saw. And method was to hit “command” when creating the shape to adjust the sharpness of the spikes.

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RUDY WONG

( COLOUR ITERATIONS OF THE WORD KITSCH IN A STARBURST SHAPE )

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KITSCH CHARTS

( BEVEL AND SHADOW FILTER EFFECT )

DESIGN & LAYOUT

KITSCH CHART 1

REFERENCE

Thin Style

Plump Style

Cover Style

Zoom-in style

Cut-out style

2 in 1 style

Layer style

WeChat style

Mosiac style

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+Info style

RUDY WONG

Internet style

KITSCH CHART 1

IMAGE SEARCH

Thin Style

Plump Style

Cover Style

Zoom-in style

Cut-out style

2 in 1 style

Layer style

WeChat style

Internet style

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PHOTO CREDS

+Info style

Mosiac style

image image image image image image image image image image image image image image image image image image

1 – © American City Business Journals 2 – © TheCloseteur 3a – © Sohu 3b – © Owell Bodycare Pte Ltd. 4 – © Shutterstock, Inc. 5a – © AliExpress.com 5b – © Kιrely 6a – © OROGOLD Deep Peeling 6b – © Freepik Company S.L. 7a – © Shutterstock, Inc. 7b – © Pexels 7 – © SASSYSHELLY.COM 8 – © Nature’s Blends 9 – © Ziff Davis, LLC. 10 – © Stéphane Dreux 11 – © www.topsimages.com 12 – © AliExpress.com 13 – © Tanya Beauty Care

APPLICATION

Thin Style

Plump Style

Cover Style

Zoom-in style

Cut-out style

2 in 1 style

Layer style

WeChat style

Internet style

RUDY WONG

Mosiac style

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+Info style

KITSCH CHART 1

MOSAIC

https://www.sitepoint.com/censor-your-images-with-a-mosaic-in-photoshop/

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Creative Process Journal

Googled how to censor images on Photoshop, and learnt how to mosaic the eyes with just three easy steps! Kudos to sitepoint.com!

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RUDY WONG

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KITSCH CHART 1

( DESIGN AND LAYOUT ITERATIONS )

DESIGN & LAYOUT

TRUE COLOURS

03/04

CAN’T PRINT ON MY PAPER

After printing, I was desolated by outcome of the printout. But then it occurred to me that Creative Print at Burlington Square might still be open, and so I went over and luckily it was open. But again, there was another problem – my paper can’t fit into their printer. So she told me to adjust my artwork, and come again the next morning with a document width size that’s smaller than 330mm. Despite all these cock-ups, I was glad that I faced these problems now, than if I were to encounter them later. I’ll take this as a lesson learnt!

RUDY WONG

I went around the print shops at Sunshine Plaza and was devastated to find out that they’re not able to print on my fluorescent paper, because the paper grammage was too thin. And also some of the shops were already closed, so I had no choice but to give it a shot, and print on the normal A2 paper instead.

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PRINT CHART 1

KITSCH CHART 2

REFERENCE

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Picked out the screenshots that Iâ&#x20AC;&#x2122;ve previously archived into the library of kitsch folder. These screenshots contain the fonts and typefaces used in kitsch ads, and are being put together into a board. Which was then used to reference for the second chart.

DESIGN & LAYOUT

( DESIGN AND LAYOUT ITERATIONS )

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KITSCH CHART 2

STUDENT SEMINAR #7 (NOTES)

• •

Exhibition – Curatorial Voice Showcase – Showcase

•

Open Studio

– Lack of large format works / Visual Spectrum – There are other ways to creatively communicate – Experimentations, Be Adventurous •

Crafting / Finishing

– Think about the crafting and finishing, it is a big part of the learning outcome • Visual Communicative Element – Images – Have a communicative intent – What does the image do? – Reference images if they’re not yours •

Make a decision, Create, Evaluate

• Schematics to understand deliverables

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•

Visual Language Systems***

– Accommodate different deliverables – Highlight core of project •

Title

– Tone of voice – Should already form a way to perceive your project

04/04

LAST CLASS / CLASS CRIT

– medium of chart – banner? – reason for using van – how do you measure success? feedback + thoughts – inform them—function – how would they learn from it? – show application on your part – modes of communication should be in line with kitsch sensibility – other ways to communicate chart

RUDY WONG

05/04

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KITSCH FINDS

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KITSCH FINDS

05/04

( Passport/Visa/ID photos, Allan Cheng Photographer )

PHOTO LABS

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( Sajeev Digital Studio )

This shop that does passport photo prints reminds me of the Sajeev Digital Studio at Little India, where they essentially plastered the entire interiors of the shop with photos as though it is a wallpaper. INTERESTING

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MEASUREMENTS OF BEN’S MOM’S VAN

RUDY WONG

Thank you Benâ&#x20AC;&#x2122;s mom for letting me borrow the van, and thank you Ben for helping me to take measurements for the van!

07/04

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+ PHOTOS

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MEASUREMENTS OF BEN’S MOM’S VAN

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RUDY WONG

07/04

MEASUREMENTS OF BEN’S MOM’S VAN

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Printed the photos of the van that I took on an A3 sized paper, and added in the measurements.

07/04

WINDSHIELD

PASTING PHOTOS ON WINDSHIELD

RUDY WONG

This is with reference to the passport photo shops, where they paste an amass of photos on the glass and walls â&#x20AC;&#x201C; which beauty salons also do the same too.

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KITSCH VAN

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KITSCH VAN

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RUDY WONG

STUDYING THE KITSCH ON VANS

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KITSCH VAN

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DECAL DESIGN

KITSCH VAN

PLANNING

WHATS IN (ON VAN)

• • • • •

photos on windshield (like wallpaper) 3 charts kitsch leaflets, (bitesized of guidebook, values) decals – the word “kitsch”, kitsch kitsch kitsch – definition of kitsch lessons from kitsch

SPREADING MEANS • •

paper signs to van exhibition poster

THE DURING OF

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• •

photo, video for exhibition report feedback form

AD-HOC CLASS SLASH CONSULTATION

rudy: the thing is like, i’m not sure which paper should i use for the charts yasser: how much is it to print something like this?

09/04

rudy: like the poster for the exhibition and paper signs – something like this, yeah a sign that shows where’s the exhibition, like where the van’s at yasser: ok, what do you mean i don’t understand

rudy: $5 rudy: like a way-finding thing yasser: $5 ah, can la yasser: inside the van ah? rudy: outside the van, towards the van

yasser: i guess so, i mean you got to test it out, borrow the van out for a day and see what is the best. and how are you gonna put it? like hang it ah? clip it?

yasser: *laughs* towards the van, that happens in the school? around the school?

rudy: yeah like in the grill, on the grill*

yasser: have you designed it yet?

yasser: ok, alright, and then this information happens inside the van la, all these. ok, leaflets, decals, this is to explain what kitsch is.

rudy: not yet yasser: ok, which you’re doing it like–when’s your exhibition ah?

rudy: yeah rudy: next week yasser: so have to go inside the van, ok so, what is this spreading means

yasser: next week which day uh

RUDY WONG

rudy: yeah, mm

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rudy: i think maybe this paper would work better cause its a chart right

AD-HOC CLASS

rudy: ohh ok rudy: mm, tentatively 16/17 yasser: what day is that? rudy: like tuesday, wednesday, not sure if i should do it like one day or two days

yasser: can– why dont you take a picture, i’ll take a picture of the space yasser: ok, should be fine right, why dont you make a picture of me as a scale rudy: *laughs* *take photo* ok thanks!

yasser: actually on full day is enough rudy: one full day ah?

yasser: i need to inform dates, so 16, 17 ah confirm. if you can just get one day its just 16 la, do you think you need two days?

yasser: i’ll talk to– *makes a phone call*

rudy: cos the year one and year twos dont have class everyday right

yasser: ok so, i got good news and bad news ah, the good news– lets start with a bad news first, the bad news is you cannot use the drop off point, because its hazardous, you cannot use the frass also because the van cannot go to the frass, you can use the loading and unloading bay, so they will secure an area for you. an then you can put the this thing(paper signs), that leads to the loading and unloading bay, is that–have you been to the loading and unloading bay?

yasser: but next week they have their submissions, so you can ask the levels twos, i mean its all depending who you want it to see, so when you do the posters, there has to be some kind of like–

rudy: the one with all the cardboard boxes right?

rudy: i’ll ask ben first and then i’ll let you know

rudy: the arrow thing, yeah yasser: yeah, and then the lifts and all that. so decide how many days because i need to inform him because its less than a week

yasser: he’s upstairs? yasser: lets go down, lets got take a look at it, is that fine? rudy: yeahyeahyeah *goes down* yasser: ideally it will be here la (drop-off point), but there might be risk issue –loading bay area–

rudy: yeah yasser: ok we’ll ask him, then reason is– you cannot procrastinate anymore you need to find the site, you need to find dates, you need to do everything rudy: mm ok yasser: benedict! benedict! rudy: 16,17! the next tuesday, wednesday

yasser: so here, which i thought is kind of nice la, which is here

ben: i think should be fine, but what time to what time?

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rudy: ok, so can just park here ah yasser: ya, for one day

yasser: i want a confirmation ah, i dont want a should be fine

rudy: ok ya, the van is not very big so

rudy: um i think 12-5?

yasser: yeah, the van is not very big, its fine, its just that because there’s people coming so must make sure that its safe

ben: both days la, so its not going to be overnight? yasser: no la overnight, because the only site

09/04

that she can use is the loading and unloading bay, i mean technically can be there la, but then your mom needs the van to spread the word of kitsch around right *laughs* oh but then you need a day to do the decals right, so that is on the day before or the week before? you know what you talk first then you let me know, i’ll be over there

yasser: make sure that its– i mean that part is very important, the study of how you breakdown what kitsch right rudy: what expansion? yasser: the text rudy: oh yeahyeahyeahyeah

rudy: ok yasser: ok, then what else? ben: 16 17 i think can ah, wait but you’ll leave the decals also right

rudy: then this will be on the windshield, so like the front part of the– pasted on the glass

rudy: ya that’s why ben: you will cover everything ah?

yasser: its sticker or will it be printed on paper?

rudy: nono

rudy: its printed on paper

ben: what will you cover?

yasser: o okok then the side?

rudy: the window, the front one, but then i will take down la, the photos, then the decals on both sides, and the hood

rudy: the side im still working on the decal for the side but i think mostly words

ben: the front will have, the behind won’t have la

yasser: oh ok, alright so now i think that is not the best way of using the van rudy: not just this, i will work on it

rudy: no ben: mm can ah, i ask my mom rudy: really!? ben: yes, she said– only these two days then your viva? rudy: i’ll ask yasser ben: can i will ask my mom, you go and talk to him first later i will let you know

yasser: because im wondering, because it needs to be like you know those race car, you know like how racing cars are sponsored right– it needs to be, like very corner needs to be, not say every inch la, every corner needs to have some kind of like information. it should not be very sparse like one piece of sticker here, sticker there. then it will feel like its very last minute like a you know. it needs to be planned like for example i go to the loading and unloading bay right, i will like look at it from the time i see something it needs to go all the way round, and then it needs to communicate

rudy: thank you!!!! rudy: o like flow la

rudy: ah ya

rudy: ok yasser: then it kind of loss of its purpose already, ok? ok

RUDY WONG

yasser: ok the other thing that i want to say is that, the way you are printing this, like the way you present this, is there a method that you are applying to break down this information? i know that you mention that there is a visual way, there is type la, the expansion right, theres classification is it

yasser: yala flow, also at the same time, the design needs to show the usage of kitsch, yeah it should not just be kitsch! and then kitsch kitsch kitsch kitsch and then multiply 10 times

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rudy: he’s waiting for the moms reply, and then uh–

AD-HOC CLASS

rudy: cos the van has a lot of–whats that called, the this thing

yasser: uh, yeah could be some small detail here, or somewhere you know, that doesn’t clash with your design la

yasser: ok, indentation is it rudy: ok rudy: so im not sure if the decals will stick on properly

yasser: van exhibition, do i have to do a report, or video. yeah, yes you have to do a report

yasser: sure, you need to like wrap it in not out, rudy: like a written or a video? rudy: ohh ok yasser: yeah so thats fine, then it’ll be a bit distorted then it’ll be quite funny. yeah, but what goes on the van is important la you know, because thats the part im worried about because i dont want the van to be just about– you know just a gimmicky thing it needs to be able to communicate

rudy: communicate, ok yasser: right? rudy: yessss, and uh– what else i wanted to ask uh. ya for the chart right, i used stock images

yasser: with footages, you can just document– ok even if you do video, you can do a video where there is information and then its edited in a way where theres video and theres information la, or it can be done in a publication that talk about how it went down, people came down to look at it whatever whatever whateve, yeah rudy: and the response ah yasser: yeah, “final submission – could it be in the van?” no.

rudy: yes, cos much like how shops do it right, they use generic images so thats why i use generic images

rudy: huh cannot ah

rudy: so do i have to credit yasser: i think the thing about rudy: guowen mentioned about crediting

Creative Process Journal

rudy: video meaning?

yasser: ok, what is the chart? which chart is this, that one uh

yasser: ok thats fine

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yasser: uh, its all depending you could do a video or you could a report, as long as its a report

yasser: yes yes yes, i think you just need to put somewhere that these images are sourced from the internet or whatever it is, as it is in keeping with the– you know like the way kitsch photography is used whatever it is, just write better than what i just said rudy: ok, in the guidebook or? yasser: uh i could be in the van, it should be in all your medium la, somewhere rudy: like here?

yasser: ok, h see what kind of response you can formulate after understanding the consensus, right. so, the van is also a way to celebrate the idea of kitsch is it? the mobile way of celebrating la, right? it feels almost it needs to be driven into an estate, just leave it there, you know what im saying? that’ll be so funny, but in the end, like i said this is the same as like project by like valentine and all that, like ok so what is the proactive spin of this, how do you– the van is one way to kind of push for the kitsch right, but how best do you summarise these things? rudy: meaning? yasser: meaning what goes beyond it just displaying information and telling how it is being used, how else can you use it, or show a tangible usage of this? you know what im saying, for example lets look at this(chart), because you want students to understand it, decipher and then maybe look at the sensibility and apply it in their project right? yeah maybe

09/04

yasser: yala there is always a– didn’t i– i wish sometimes when i say something students will listen, that’ll be great

yasser: the van is nice, a good idea but its not the end, sorry to break your heart la, thats how it is. thats when you tell me “o i’m not very stress”, then now its the time to be stress la rudy: *laugh

yasser: oo, yeah im telling you

yasser: does it make sense to you? i mean im just saying, i mean again, I’ve conversations with a lot of students about their work and these are just my recommendations alright, im not saying that you do it you will pass with flying colours, im just saying that there needs to be a next step to this. because im just afraid that– i think this van thing is kind of interesting its very fresh, but there’ll be other lecturers or even other target audience that think “oh this is very gimmicky what shes doing”, it cannot be gimmicky, it needs to have a– as much as visually it is very interesting, the idea is very fresh but it needs to have a practical appeal, ok? ok, put it together and let me know by friday? *laughs* so i just want to know 16,17 is confirm i need to tell the guy, 12-5 right?

rudy: i understand, i understand

rudy: 12-5, yes

yasser: so you give them a way they can use it, lets say for example, its the template of the word “hyperlink” for example, they can play with the word, they can scratch it off, they can play with the cut-out they can spray you know, they can use it or is it a set of decals thats printed cheaply, where they can use this sensibility, as they go for your thing, they can see it and take it. so this is a way to kind of like, no say enforce but the very simple way of trying to like, they literally get something out of the exhibition, and the next step for you is that, ok they use this, see how the students use it, or even if you were to sit at the back of the van with a table, and give it away then show maybe its a moving workshop i dont know, like how to use these things you know, celebrate it in a way where it is actually an usable rather than an eyesore, you know what im saying?

yasser: ok, because the information if you do it on 16,17 right, 16 is on wednesday is it?

rudy: i listen! yasser: so for example– ok lets say, beyond this van right, back in my days right, we always have this van that comes by my old estate right, theres uncle selling things right, so he opens the van, and you know the grill you were saying, they always hook things where you can buy for ten cents twenty cents, toys or knick-knacks, snacks. you can always give away things to students to pick. like look at templates or whatever rudy: oo ok

rudy: tuesday yasser: so if its tuesday right, you work back, today is already a tuesday, so you have a week to pull this off, which means that you need to print the decals and all these and dress it up on the 15, right? ok? rudy: ok, thank you!

RUDY WONG

rudy: thats like another part already right

rudy: ya

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you want to create a way where certain things like these can be applied to a project la, you know what im saying

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OK, TIME TO GET CRAZY.

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RUDY WONG

A CALL TO ARTSIGN

10/04

CONFIRM PRICE AND TIME

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Called ArtSign to confirm the pricing for an A0-sized decal, and how long it will take for the decal to be done, and ready for collection. And I was told that I will need to wait for 2 working days, as they will send it to the factory. But if I were to send the artwork in the morning or by 4PM, the prints will be ready by the next day.

DECAL DESIGN

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RUDY WONG

The design of the decals for the van takes reference from the archive of kitsch library, which was previously mentioned when designing the kitsch charts.

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DECAL DESIGN

PREPARING THE DECALS FOR PRINT

As this was kind of considered a large format printing, I had to be extra careful when preparing the files for print. I made sure that Iâ&#x20AC;&#x2122;ve pathed all the graphics, created outlines for the texts, and used a different colour(yellow) that was obvious enough for the print shop to differentiate between the parts where I want them to be filled, and the parts that should be left hollow.

PHOTOS

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RUDY WONG

And as for the images, Chen Xuan reminded me that I should create a separate path which outlines the photo, as that would serve as a guide for the die-cuts to be made. And he also brought up that I should include bleeds around the images so that when the image is being cut, there will not be a white space around it.

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SEND FOR PRINT

CHECKING OUT THE LOADING BAY (2)

11/04

Went to the loading bay as the next step was then to start designing the posters for the showcase, and I also wanted to find a way to best describe where the loading bay was located. So I figured that a possible measure was to count the number of steps it is away from the drop-off point. And upon my arrival at the loading bay, I realise that I will need to put up signs or collaterals to indicate that the showcase is held there. So I included this to my list of things to prepare:

WHATS IN (AT SPACE)

• •

hanging banner at location posters to indicate space

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( These are the walls that I’ve identified where I could paste the paper signs to lead people to the kitsch van )

RUDY WONG

KITSCH VAN

POSTER DEETS

DECIDING THE NAME (OR WHAT TO CALL IT)

– display – exhibit – visual treat – road show – sighting – spectacle – showcase – flash show

KITSCH KITSCH KITSCH KITSCH KITSCH

FLASH SHOW show roadshow exhibit showroom

KITSCH SHOW ROOM (ON VAN)

Tuesday 16/04 & Wednesday 17/04 12PM-5PM LASALLE Loading Dock (McNally) *Just 30 steps to the right from the drop off point *Spot the Toyota Lite Ace van

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• • • • •

A showcase of the everyday ugly-beauty! Tickle your eyes~ Come discover kitsch! Give your eyes a visual treat! EVERYONE MUST COME!

KITSCH SHOWROOM POSTER

DESIGN & LAYOUT

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RUDY WONG

( DESIGN AND LAYOUT ITERATIONS FOR THE EXHIBIT LOGO )

KITSCH SHOWROOM POSTER

DESIGN & LAYOUT

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Added a layer of gradient effect, and played with colours for the background of the poster as kitsch has loud and bright colours, and often feature gradients in the designs.

( DESIGN AND LAYOUT ITERATIONS )

TEST PRINT (POSTER)

( Don’t know what happened here? )

Tried printing on the fluorescent paper that I got from ArtMark, but it didn’t pop as much as I wanted it to. So in the end I printed the posters on a normal glossy white paper instead.

PRINT (POSTER)

NO. OF POSTERS TO PRINT 2 cargo lifts 5levels

•

2 bubble lift 6levels

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•

RUDY WONG

(POSTER AT LIFTS)

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KITSCH SHOWROOM POSTERS

PASTING AT LIFTS

Was contemplating if I should print the posters in A3 or A4 size. And I decided to just print them on A4, as the kitsch found in heartlands are usually printed on A4. And the posters were deliberately paste slanted, as it took reference from the posters at the Novena moving out sale (page 97).

INSTAGRAM POST

Exported the illustrator file in photoshop format and discovered that I could do animations to the graphics and text. And so I did a few zooms and rotations to the texts and graphical elements.

RUDY WONG

( STATIC POSTER )

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( VIDEO )

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KITSCH SHOWROOM DECALS

COLLECTION

KITSCH SHOWROOM DECALS

CUT TO SECTIONS

( REFERENCING WHICH DESIGN GOES WHERE / WHICH SIDE OF THE VAN )

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Then I also bundled the individual pieces into sections – left, right, hood, rear, so that it doesn’t get too messy on the day of pasting.

RUDY WONG

Cutting the A0 decal into smaller pieces so that it will be easier to stick onto the van.

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CHECKING OUT THE LOADING BAY (3)

13/04

( Wall Posters )

Went down to the loading bay again to see where I can place the posters and hanging banner at the space. Thought this wall would be a nice section to place the posters!

As for the foamboard sign, I planned to hang it down from the ceiling, and so everything â&#x20AC;&#x201C; including the van would populate the space on the left side of the loading dock.

RUDY WONG

( A1 Foamboard Sign )

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KITSCH SHOWROOM

SIDE WALL POSTERS

WHITE

YELLOW

GRADIENT ON GRADIENT

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BLOCKS OF COLOUR

RUDY WONG

13/04

KITSCH SHOWROOM

FOAMBOARD SIGN

A1 FOAMBOARD (1)

The TOYOTA LITE ACE VAN!

f the se o auty! a c ow be A sh y uglya d y r eve

A1 FOAMBOARD (2)

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*NOTE FILE FOR PRINT

Again, it was important to remind myself to leave a 5mm bleed around the design.

PAPER SIGNAGES

< 30 steps to the TOYOTA LITE ACE VAN!

2 more steps to the TOYOTA LITE ACE VAN!

6 steps to the TOYOTA LITE ACE VAN!

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30 steps to the TOYOTA LITE ACE VAN!

RUDY WONG

A few examples of how the shops in heartlands do wayfinding signs that lead customers to their establishments. The paper signages for the kitsch showroom also feature bright red arrows; with aims to help design students find the kitsch van.

KITSCH SHOWROOM

blue-tack

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definition

GRILLE

s-hook + plastic holder

kitsch lea

flets

s-hook + plastic holder

bulldog + bubble plastic

lessons from kitsch

photos (for viewing)

WHAT GOES ON THE GRILLE ( PLANNED ACCORDING TO SCALE )

scotch-tape

bulldog clip photo credits

photo roll

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RUDY WONG

bulldog clip

LESSONS FROM KITSCH

Through this year long research and study on kitsch – I was taught some valuable lessons. I’ve since jotted down things that I’ve learnt along the way, and synthesised my findings and insights into a list.

Essentially, not to be afraid, to explore and experiment more, which produces unconventional results

Be more daring in layout placements.

The spirit of play!

Just make and create, because literally nothing is considered wrong in this case.

It’s ok to use gazillions of typefaces.

Communicative aspect; really focus on getting the message across, by using the most fundamental elements and system typefaces.

Explore the usage of different typefaces and not just keep to helvetica all the time.

08 09

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Play with colours and experiment with different mixes of colours. Design is literally everywhere and so are inspirations! Recording our surroundings through photos could be a way to train our eyes to look out for something in particular, and build on an area of research. (need not be a professional camera, sometimes the quickest and handiest means is your phone)

KITSCH GUIDEBOOK (LAYOUT & DESIGN)

Included a spread where I talked about what is considered kitsch, and what is not kitsch.

The characteristics or attributes of kitsch in the form of a checklist.

RUDY WONG

And lastly, I realised that I could just feature the interviews with prints shops at the back of the guidebook, instead of printing it separately.

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Made a few changes to the design of the guidebook.

KITSCH GUIDEBOOK (REVISE SIZE)

After the open studio, I realised that the size of the guidebook is a little too small, so I increased the guidebook size by 2cm.

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KITSCH GUIDEBOOK (BINDING)

As for the binding of the guidebook, I wanted to experiment more and use a binding method thatâ&#x20AC;&#x2122;s more related to kitsch. And so I tried this binding method â&#x20AC;&#x201C; of using transparent scotch tape with staple saddle stitch. Because I observed that heartlands use scotch tape and staple for almost everything, to paste, attach, and stick things together.

RUDY WONG

PRINTING DAY!

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KITSCH SHOWROOM

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KITSCH SHOWROOM

STICKING DECAL

15/04

Went to Ben’s house to stick the decals on the van the night before the showcase because I was afraid that it might be too late and rushed if I were to stick it on the day of. We realised that we should probably get the car washed before sticking the decals. (hence the photos on the left – ben brought the van to a carwash, thanks ben!) Besides prepping the van, I had to plan for the things to bring along for the pasting, and got some help from my family to stick the decals. So thankfully, the entire sticking process only took about three hours.

TO BUY • • • • • •

bulldog clips (9 small, 4 big) raffia string (to hang hang the foamboard) s-hook decals blu tack flower water spray (+ put soapy water)

TO BRING

RUDY WONG

decals and stickers A3 prints of decal design (to reference) cards (to rid bubbles when pasting) dry cloth (wipe surface before pasting) scissors, pen knife plastic bag (for trash)

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• • • • • •

KITSCH SHOWROOM

STICKING DECAL

15/04

parked near the coffeeshop cause we needed a brighter spot

removing the decal from the printed sheet, onto the transfer sheet

bundling the decals together into the sections really helped a lot

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not as easy as it looks

waiting for the decals to dry before peeling the transfer sheet off

the squeegee worked better compared to the standard cards

After some time, we realised that we should only spray the soap water when we need to shift the decalsâ&#x20AC;&#x2122; placement. Otherwise, making it too wet makes the removal of the transfer sheet a lot more difficult.

KITSCH SHOWROOM

FEEDBACK FORM

15/04

Created a feedback form with a list of questions on Google Forms which aims to gather feedbacks, impressions and suggestions about the Kitsch Showroom.

Did you know what kitsch was prior to the viewing of the kitsch showroom? YES NO Please state in your own words the definition; or how you would describe kitsch. Was the showcase successful in communicating the kitsch in Singapore neighbourhoods? Why? Please state three characteristics of kitsch as highlighted in the exhibit. Please state three values of kitsch as highlighted in the exhibit. What other aspects of kitsch are you curious to know more about? Do you feel positively or negatively towards kitsch now? And why? What was the most compelling information or photo (or anything really), that stood out to you? * What were the main takeaways from this showroom?

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RUDY WONG

Last words: Any areas of improvements or suggestions?

KITSCH SHOWROOM

SET-UP

16/04

Tried to staple saddle stitch the kitsch guidebook the night before with a regular stapler, but it was too thick to staple through. So I went to Creative Print at Burlington Square, and the lady very kindly lent me the heavy duty stapler. Thank you!

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Thanks Nat for helping me stick the photos on the windshield!

Thank you Ben for helping me attach the sign onto the railings!

KITSCH SHOWROOM

IMPROVEMENTS

16/04

Realised that there were some improvements that could be made for the Kitsch Showroom:

HEAT It was thirty-four degrees on the first day, and almost everyone was complaining about the heat, so I asked the security guard – who asked the facilities guy to loan a fan to me. KITSCH GUIDEBOOK Majority of the people who came to the showroom didn’t know that the book can be removed from the plastic holder, and so I clipped the book to a bulldog clip, and hung it on an S-hook for the second day. QR CODE Despite the placement of the QR code near the exit of the van, many did not know to scan the code and therefore the feedback gathered was lesser than the number of people who actually came to the showroom. So to solve this problem, I added a “call-to-action” on the QR code slip stating “please scan before you leave”. CAMERA POWER SAVING After reviewing the videos, I realised that the power saving mode for my camera was turne on, which means that the camera automatically shut off when it hit the ten minute mark, so I turned off the setting for the second day. And in order to get variety of angles in terms of documentation and capturing the reactions of the students who came to the showroom, I placed my camera at a different spot the next day.

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RUDY WONG

MUSIC I bought a speaker in efforts to attract more people to the van, and the speaker was tuned to the radio to elevate the overall “kitsch experience”.

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KITSCH SHOWROOM

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RUDY WONG

KITSCH SHOWROOM

I want to thank those who’ve took the time out of their schedule to come down to the van, and the ones who’ve helped make this kitsch showroom happen in any way! Special thanks to:

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BEN’S MOM – FOR LENDING THE VAN AND KEEPING THE VINYL DECALS BEN – FOR BEING SO ACCOMMODATING, DRIVING THE VAN TO SCHOOL, AND CONSTANTLY HELPING ME WHEN I NEEDED HELP CHEN XUAN, NEYSA, VANESSA – EMOTIONAL SUPPORT CLARIE – FOR LENDING ME THE GOPRO FAMILY – FOR HELPING WITH THE STICKING OF THE DECALS GUOWEN – FOR COMING DOWN TO THE KITSCH SHOWCASE AND GIVING WORDS OF ADVICE FOR THE NEXT STEPS NAT – FOR HELPING WITH THE STICKING OF THE POSTERS AND PHOTOS ON THE WINDSHIELD SECURITY GUY – ARRANGING THE LOAN OF THE FAN PEOPLE OF THE LOADING DOCK – FOR ACCOMMODATING ME VIKAS: FOR COMING DOWN TO THE EXHIBITION YASSER: FOR HELPING ME TO GET THE LOADING DOCK AS A VENUE TO PARK THE VAN, AND THE WORDS OF ADVICE FOR THE NEXT STEPS

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RUDY WONG

KITSCH SHOWROOM

Did you know what kitsch was prior to the viewing of the kitsch showroom? Yes (7) No (13) Please state in your own words the definition; or how you would describe kitsch. Ugly design Ugly design It is an interesting concept that ppl hardly notice Vernacular, informal design Grotesque or tasteless without meaning Pretty dope Anything, anywhere, anyhow unique Cheap, template, beautiful kitsch is like easy and tacky design A cultural visual la gauge that can only be found in Singapore Cheap straightforward ads with cringy stock images Cheap Everyday’s “bad” design that we see in our Everyday lives

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Turning something ugly into something iconic Savage. It exploits the principles used in design to come out with low class visual but at the same time it is able to communicate the intent of it. You know what I mean? Old/outdated design, ugly aesthetic Was the showcase successful in communicating the kitsch in Singapore neighbourhoods? Why?

Yes! Because there was a variety of them presented and the Yes. The “vehicle” chosen to communicate was the right one! Not really. If a van is the site of display, the interior needed more work in terms of presenting kitsch. Yes, instantly feel like I’m at a Singapore neighbourhood shop and have a clearer idea of what ’kitsch’ is. Yes yes because these are familiar types and design i recognise from the neighbourhood Yes! yes. it actually showcase more of a neighbourhood posters and design in around my neighbourhood. Yes, if these were not collated, I wouldn’t be able to visualise what is kitsch Yes it captures the neighbourhood’s daily culture and lifestyle such as the signages, poster designs. Somewhat, it shows many types of kitsch in Singapore that we don’t notice or actually realise is kitsch The setting of the showcase is very appropriate and quirky which makes the whole visual experience such a visual treat. Yes, because these are the things that we commonly see around us and it is something we might have taken for granted because we see everyday, but placed as a topic, it really stands out Yes, it shows the different kinds of shops where Kitsch design is prominent Yes I think it was an appropriate display Yes, it’s design that might be overlooked and hence showcasing

FEEDBACK FORM RESPONSE

it in celebratory way would generate interest & awareness of these designs we see everyday!

Loud, Random, Singaporean Ironic, colourful & expressive China, PowerPoint Form and Colourful

Yes I got to understand like those massage shops have a certain style and it’s called Kitsch

Please state three characteristics of kitsch as highlighted in the exhibit.

Please state three values of kitsch as highlighted in the exhibit. It’s ok to use many typefaces, play with colours and be daring Appreciation of kitsch, not limiting to a particular style, be adventurous Shouty, unreadable, irritating (haha!) Appreciation unique, easy to spot and eccentric

Stock photo, system font and basic geometric shapes Vernacular, “ugly” poor taste Default design, jarring colour combinations, system fonts

Honest, direct marketing, no tricks honesty, bright, happy They get the point across immediately/ unique/ exaggerated

Lots of typefaces, bright colours and distorted images

Easy to spot, straight forward, colorful

Effortless ugly beautiful

Exaggerating, loud and quirky.

Free spirited, bold, fun

bright cheap fast

Flattery, liberal, monological

Colourful, why not, no rules plain, stretchy text and very big symbols Bright/system fonts/ecentric Cheap, tacky, overexaggerated Many typefaces, weird pictures, bright colours Gradient, stock images, sale of services Tacky, loud and mismatched Colorful, stock image and shapes/ symbols

Easy, sentimental Appreciation of Everyday design, sentimental, man-made Cheap, Ugly and Stylistic Practicality, size matters, to the point (no bushes beaten) Non-designer, messy and anyhow What other aspects of kitsch are you curious to know more about?

RUDY WONG

Yes, it looked like commercial vehicles (lorries, vans, trucks) that hadlve decals on them with not much design involved but just to get the message (advertising) out for the public

Loud, bright and ugly aesthetic

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yes because you highlighted what is your POV of kitsch and using those identified elements to showcase examples of such found within the neighbourhood. Piao liang!

Bright colours, gradient and usage of simple shapes; eg starburst, oval and yes

KITSCH SHOWROOM

What mediums do people usually use and what are their thoughts behind the design How to use it in client commision works The fabricators of kitschy signs and decals and the in-house staff are thinking haha! Did people actually hire someone to help them design something that looks ‘kitsch’? Or do they design themselves using software like Microsoft Powerpoint? How to use it during school project why are the fonts chosen If designers use kitch , is it bad? more images of very ugly images How can this visual language be used in design Objects representing kitsch A breakdown to analyse what makes a design kitsch What’s the design process Nth kitsch design in the future? How it affects designers How different typefaces are used to together to get a message across. Can I apply them to bigger scales like in museums Guide to create a kush design or something

I never felt negative towards kitsch! There is beauty in everything. Positive. We need it so that we can distinguish what good taste can do hehehe Positively and negatively. Positively, as it reflects the Singapore neighbourhood style. Negatively, as the use of bright colours and distorted images make the the design look unappealing. Positive positive because i realise how diff it is, setting it apart from the modern design Positive i feel positive. i took notice of kitsch design now Positive as it embodies the cultural aespects of Singapore Positive. Positive. Shows that ugly design is not ugly Negative. It’s too stock and a design direction that i’m not really a fan of. Positively because it helps me to notice more about the designs around me positive, I think that they are something that are around our neighbourhood I think that it gave me a new perspective on visual language.

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Positively, because it should be How to define something that is kitsch, appreciated in a mundane way and be as it also moves with time celebrated in sg for being everywhere

Do you feel positively or negatively towards kitsch now? And why? Postively, because it’s a reaction to design by non-designers and appropriate that way.

Positive cuz it’s a special style that I didn’t know had a specific name Positive, imagine a neighbourhood without kitsch i think that there will be a lost of identity among the shops Positive, it gets the message across and its a kind of aesthetic

FEEDBACK FORM RESPONSE

The die cut graphics on the van that communicate kitsch The booklet. Perhaps expand on the bit on what’s kitsch and not kitsch. The colour and the starburst shape really capture my attention. The Experiential experience beauty salon photos The van is bomb the very big and tacky arrows. The fonts. How they can use diff fonts The cut out style photos The decal on the van The quirky use of gradient. I like the fonts used to bring out the theme Eyebrow, lips The aesthetic of the van and the vinyls that are on it The colours! The information about the van “You said anything one ah, the juxtaposition of the foam board and the van. The board that was mounted on the staircase pointing to the van, i think it’s a really smart Also you manage to make them look visually pleasing, i wna be liek u when i grow up” The Decals on the van

Every aesthetic can be a form of design. The various forms of kitsch (typeface, graphics) Stretched fonts have a place in our visual culture hehehe Get to have an idea of what the word ‘kitsch’ means. I finally know what is klitch further understanding how kitsch come about Kitch is anywhere everywhere in singapore this is very interactive. Interesting design that can only be seen in Singapore Able to experience and understand kitsch better now It’s bright and bold Allow me to have greater appreciation for quirky designs like these since it is seen everywhere around us everyday. It is an interesting concept of displaying this whole concept The charts are useful in knowing more about Kitsch I think it brought focus onto the visuals that one would tend to miss out on a daily basis How kitsch is originated and the process of making The meaning of Kitsch itself The bibimbap that you had was takeaway jk, to not look down on ugly design What is kitsch

RUDY WONG

The photos with the faces with Chinese words on it. Because it seemed the most medical.

What were the main takeaways from this showroom?

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What was the most compelling information or photo (or anything really), that stood out to you?

KITSCH SHOWROOM

Last words: Any areas of improvements or suggestions? How would you design your own kitsch in a way that follows design theories? Turn off the engines or get some portable fan? :) the smell from the van engine is a little uncomfortable! I’m not sure if a van with decals, and a small display on the inside was worth all the effort. The presentation of the photos without any context was also slightly puzzling. Perhaps what’s really missing is what the various flavours of kitsch are. For example, the nuances of kitsch we see in bathroom supplies is different from food manufacturing. Too hot too smelly smaller prints can be a little bigger because it wasn’t too noticeable

Can maybe play with more juxtaposition of photos in your layout None

Yasser and Guowen came to the Kitsch Showroom and gave a few pointers to note moving forward: • CHARTS –charts are interesting; categorising, maybe i could do a second rounf of categorising – eg, facial, massage, food, and look at the typeface, graphics and photos for each category • PRACTICAL –try to avoid turning it into a very practical project

maybe can paste it all over the van and not just the metal grill

• KEY THINKERS

more explanations Have a breakdown of what kitsch is based on the pictures of examples shown Would love to see more collaterals using other mediums like video etc. None Unique way of presenting kitsch especially in the setting of a van. Creative Process Journal

showing how people interact or “ignore” these designs.

I feel like I am inside kitch not just viewing. But experience

More deco inside would be nice

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FEEDBACK FORM RESPONSE

I think it would be nice if the title and definition of the project was a bit more emphasised on. Because I was a bit lost at what kitsch was about at first. I love how it’s showcased in a place where it’s “overlooked” too haha. Could showcase in a video as well

–look at key thinkers and the concept of for example, consumerism, production –look at it through a different lens, different approach • SPACE –flowers, calendar, company name was a happy chance • DOCUMENT –take lots of photos, record

MOVING FORWARD

POST-EXHIBIT THOUGHTS

From the responses that were recorded, it was gathered that more than half of the participants did not know what kitsch was prior the viewing of the Kitsch Showroom, and kitsch was subsequently most commonly understood and described as “ugly design”. Most felt that the showcase was successful in communicating the kitsch in Singapore neighbourhoods, and added that the variety in the documentations of kitsch helped in the understanding of what kitsch is. There were a few areas that were highlighed that could be improved on or worked on moving forward, I’ve filtered the ones that are workable by submission date on the 26th, and selected these possible areas to work on, and to expand on these information, that could go into the guidebook. • The mediums used in kitsch ads.

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• An exploration how the kitsch features different typefaces that actually work well together.

RUDY WONG

• Expansion of showcase of more images of “very ugly images”.

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SIGNS AND BANNERS “A bit late but if want to print signs maybe can try lolol” Chen Xuan shared some kitsch signs and banners.

VISUAL RESEARCH (FOR BANNER)

22/04

ELEMENTS (TYPEFACE, GRAPHICS, COLOUR, IMAGES)

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Around this time, I had the same thoughts, of producing a response thatâ&#x20AC;&#x2122;s either a lightbox, a pvc banner, or a foamboard poster on an a-stand. So I tried making calls and emailing print shops to get quotes for the light box, as that was the first option on the list. However, the print shops got back to me and said that they will need 5-10 working days to work on the lightbox, and on top of that, the cost for a lightbox signage ranges from $800-1000. And so I went on with the second option, which was the pvc banner, and conducted a visual research on banners.

VISUAL RESEARCH (FOR BANNER)

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BANNER TYPES

HANGING MEANS

22/04

And a few weeks back, probably during open studio when I had to get things printed, I discovered that Brilliant Colour at Sunshine Plaza does pvc banner printing, so I called them up to ask how much it will be to print the banner, and how long it will take for it to be done. $40, (additional $2 for eyelets at the top of the banner), will be ready in a days time.

RUDY WONG

Was deciding on the banner size and came across this print shop that have a few banner size options, I thought the second sizing fits my budget, and tried to visualise the size by using a measuring tape against my house floor, and it looks like a standard banner size that I observe on the streets, so I went on with that size.

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BANNER SIZE

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KITSCH BANNER

ITERATIONS FOR THE GRADIENT BACKGROUND

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( ITERATIONS OF THE WORD KITSCH AND THE STARBURST )

RUDY WONG

DESIGN & LAYOUT

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KITSCH BANNER

ITERATIONS FOR THE GRADIENT BACKGROUND

DESIGN & LAYOUT

The art direction of the kitsch banner was a result of the visual research conducted â&#x20AC;&#x201C; keeping in mind the library of kitsch elements, the art direction of the deliverables feature starburst graphical elements, featheres ovals, outlined texts, the use of red and yellow, pointing arrows, and a gradient background.

RUDY WONG

DESIGN OF BANNER

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â&#x20AC;˘

SUBMISSION

SET-UP PLAN

DELIVERABLES

ON GRILLE • • • • • • •

collection of photos (documentation and archives of kitsch) definition slips 3 charts kitsch guidebook kitsch showroom report cpj (both semesters) lessons from kitsch

HANGING

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•

pvc banner + eyelets

WHAT GOES ON THE GRILLE ( PLANNED ACCORDING TO SCALE )

24/04

blue-tack definition

bulldog + bubble plastic photos (for viewing)

s-hook + plastic holder

kitsch gu

idebook

s-hook + plastic holder

bulldog clip

lessons from kitsch

showroom report

photo credits & references

scotch-tape + bulldog photo roll (14)

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RUDY WONG

bulldog clip

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KITSCH SHOWROOM

REPORT

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RUDY WONG

25/04

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Creative Process Journal

b 19 ad 15 c6 2 b

w ru on dy g l e un g ki ah

January2019â&#x20AC;&#x201C;April2019.

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