4D: Tutu Kueh Exhibition: Documentation

As you’ve heard from previous post, our exhibition revolves around preseving the local delicacy of the tutu kueh (chinese) or putu piring ( in malay). Besides that, we also wanted to show how preparation of tutu kueh is valuable and portray the preparation as something to be respected, especially when we live in a time where food is becoming ever-ready, and waiting time is a time where customers barely notice how their food is being prepared. Knowing that the tradition dates back to the late 80s to 90s, we felt that the tradition of preparation was just as important as the taste of the food itself.

We plan to execute this message through the use of video projections in all 4 booths (each)  and a table of the actual + fake kueh tutus.

The following footages and pictures are the places we’ve been to, the things we prepared for actual day, and how the day went for our presentation.

We visited this stall in Clementi Mall, where there’s this stall which sells a lot of sweet delicacies- one of them is tutu kueh as well. I thought it was quite interesting how the outcome was so beautiful. It had a fluffy texture to it, and the shape of the tutu kueh was symmetrical, round and clean. Normally, when I get the malay ones – the putu pirings, the surface don’t come in floral pattern but a plain concave surface with brown ‘palm sugar’ spots on it. It was quite interesting to compare between these two types of kueh tutus. ūüôā


We visited Tan Tutu Kueh shop and filmed the process of making it. We requested to use footage for one booth of ours. We got rejected.

Anyways, prior to filming Tan Tutu Kueh’s stall, Jia Qi created a storyboard for the 4 booths. It was divided into 4 parts.

Those scenes above were scenes from either the actual stall ( the ones we could afford to get), and if there’s plenty of scenes not filmed, we would perform those ourselves. ¬†Thankfully, the outcome was we were allowed to film upclose and got them.



We were advised to film real fotages of preparing the tutu kueh ourselves – so we did. We filmed the sifting of the flour, the ‘dry-frying’ of the flour, as well as the pounding of ground peanuts ( using the old school stone mortar). This was done in Jia qi’s home.


After doing some editing for video projections, we finalized the 4 clips.


As for the last section of the exhbiiton – which was the actual + fake tutu kuehs – it was basically there for visual and eating purposes. Clara made the fake tutus out of moulds and it turned out pretty nice – in fact, many have said the texture was soft – like the actual one.

The day before presentation – assembling the kueh tutu moulds. I was tasked to trim off real pandan leaves and put them at the bottom.


Footage of the Actual Footage: 




To conclude, my overall experience working with Clara and Jia Qi was tiring, fun in some parts, but mostly tiring. My favourite part about working with them was filming at Jia Qi’s place – where we had to film me performing the ritual making of the tutu kueh. From pounding the stone mortar (follow up to my Alter Ego assignment lol), to sifting the dry flour using a strainer, and the dry-frying the white flour with pandan leaves in it. ¬†I’ve never made tutu kueh ever in my life – but it was a first hand experience ‘making’ one ¬†– and I realized how easy it was and how accessible the ingredients are. It’s simply using store-bought tools, some flour and palm sugar and desiccated coconut or peanut – that’s ¬†it. It’s that easy.

And watching and editing videos of the kueh tutu + putu piring, made me realize how the styles of making them are similar, both malay and chinese styles. The only differences are in terms of presentation of the outcome – the putu pirings are soft and loaded with the palm sugars whereas for kueh tutus the fillings are hidden beneath the snowy surface.

My least favourite part was setting preparing the logistics stuff for our exhibition – it was a long process, we had to change decisions every other minute, and working with projectors and editing was quite a hassle. Eventually we made it happen, I was so glad my classmates liked the putut piring and kueh tutu we provided for them. Apparently, not many have heard of the malay version and it was their first time trying it out (on that day). That really surprised me.

Working with Clara and Jia Qi was a great experience – Jiaqi’s filming skills were put to great use when we filmed the scenes at her place, and Clara’s strong ideas for the food exhibition was motivating enough for the group to do more than we could ever do (as tiring as it was). The presentation day turned out better than we thought. ¬†It was easy to communicate how we feel and our thoughts towards the way things are being set up, and I liked how we managed to make compromises to every decision-making that we do.

Hopefully,  everybody left the exhibition without looking at the kueh tutus the same way, when they first came in.


2D Zine (Process)

I was given feedback to work on my layouts and provide more sketches for my zine. I’m planning to use traditional mediums, like water colour and colour pencil. It’s quite hard to figure out what style, colour and illustration to work on, as requested by Ms Mimi. I wasn’t so familiar with different types of illustrative styles by artists and how they tell a story. I only knew I could use those mediums and make subjects appear realistic. So, I had to do my own research and search for artists, whose works and styles would be quite interesting to follow.

Just to recap on concept;

  • ¬† – “Urbanature” is title of my zine
  • Tells a story about Punggol
  • Removal of trees and forested areas to make way for tall flats
  • Tall buildings appear dull and boring, but high and mighty
  • Trees and habitats are left with little space, due to construction
  • Ending: Tall buildings and nature can live side by side
  • Moral of story: Punggol residence shows how man-made and nature can live can co-exist
  • Aerial view of Waterway Terrace

I’m planning to work this colour theme. I got them from Adobe Kuler and played around “triad” colours.

Or maybe this one. Because they have warmer tones to it, which I’d like to have for some colours used in my zine.

Found from Pinterest: 

Artist Ref:  Alina Chau

Artist Reference #2: Rosanna Tasker


There are two main elements to Rosanna‚Äôs approach. The first stages of her work are created using natural media ‚Äď pencils for the line work, and gouache paints, applied to separate layers using a light box. This, and the rich papers she uses, gives her work its unique, handcrafted feel. Images are completed digitally, using Photoshop to clean them up and add the finishing touches.


Delicate lines and gentle textures are woven together to depict elegant, elongated figures and forms. She loves to experiment with scale, and nature usually plays a big role in her art. Rosanna chooses a limited palette for each piece, sometimes punchy, sometimes subtle, but always in keeping with the brief.

Source: http://www.illustrationweb.com/sg/artists/RosannaTasker/view?agenthelp=2



Rosanna’s works are quite interesting, especially with the use of colours. Her colour palette seem to be very limited, consisting of only blue hues and a bit of yellow to complement it. The use of yellow, actually brings out more emphasis on the subject matters.

Her style is simply a mix of traditonal and photoshop to make it neat.

I decided to go for a more warmer tone for the colour scheme. After scanning, I edited those pictures using photoshop.These were the outcomes:


4D Project 3: Kueh Tutu Exhibition

Initially our groups discussed about doing the folloing kuehs:

  • Ang Ku Kueh
  • Putu Piring/ Kueh Tutu
  • Putu Mayam
  • Roti Prata

But eventually, we decided on Putu Piring. I was given the role to work on Zone 4, of proposed project, that is to work on remixing videos. This is for visual projection, to show how different version of kueh tutu/putu pirings are being made.