Roller Coaster of Emotions | Final


The phrase “Roller coaster of emotions”  can refer to a situation or experience that alternates between making you feel excited, exhilarated, happy, sad or disappointed.

Since music allows for an immersive experience where the user enjoys a wide spectrum of emotions depending on the genre, this project is a visual exploration on the effect music has on us and how it may soothe, sadden or excite in reaction to the dynamics and beats in music.


We were inspired by this video and the idea of music as a journey with obstacle courses.


Different genres of music will be represented in the form of different landscapes that the roller coaster cart travels through. The colour scheme and architecture of the roller coaster ‘s trail would correspond to the mood and beats of the music. For example,  jazz music would be represented as a slower, scenic outdoor roller coaster.

We had a total of 4 different scenes:

  1. Nature
  2. City
  3. Highway (transition scene)
  4. Upside down landscape in the sky

We decided to design the landscapes in an isometric manner versus a flat style because it would add more dimension and depth to the overall aesthetic.


Each illustration started with drawing out rough blocks of different shapes, sizes and height before adding on the track route.

After that, various elements such as windows, tiles, stairs and signages would be added to the blocks to transform it into buildings and architecture.

Lastly, background elements such as plants, clouds and people were added to fill in the rest of the canvas.


Scene #1: Nature
Illustration Process

Music: Sergey Cheremisinov – Closer To You (

Mood/Scene: Calm/Nature

Moodboard/Colour Scheme:


There wasn’t any extreme ups and downs in this track because it was supposed to reflect a calmer mood. Instead, the track goes straight in one direction before gently descending.


Plants were added to emphasise the nature theme and to make the landscape more scenic and calming.


Scene #1: Nature
Animation Process

Animation list:

  1. Roller Coaster
  2. Tracks
  3. Clouds
  4. Sun
  5. Plants x26
  6. River
  7. Fountain
  8. Stingray
  9. Bubbles
  10. Lotus leafs
  11. Balancing Beam &
  12. Pink Balls Bouncing x2

Scene #2: City


Music: Midnight Stroll – Ghostrifter Official

Mood/Scene: Busy/City

Moodboard/Colour Scheme:


This was supposed to contrast with the previous calm and scenic landscape.

The buildings are stacked and interlock with one another, making for a more crowded looking landscape. The track has sharp ups and downs and the tracks overlap at one point as well. The exit route is triggered by traffic lights.


A large amount of background buildings and some human figures were added to make the scene look like a bustling city.


Scene #2: City
Animation Process

9) Clouds
10) Sun


Scene #3: Highway (transition scene)
Illustration Process

Music: Sergey Cheremisinov – Train (

Mood/Scene: Tranquil, Anticipation

Moodboard/Colour Scheme:


This was a transition scene between the busy city landscape and the next dreamy city in the sky. The is supposed to be a sort of highway to the sky.

A gradient was applied to the highway.


The colours get darker and stars were added in nearer the end of the canvas so make the transition to the next scene smoother. A light pink outline were added to the buildings to make it seem more twilight-y.


Scene #3: Highway (transition scene)
Animation Process

Scene #4: Upside down City in the Sky
Illustration Process

Music: Gymnopedie No 1 – Satie

Mood/Scene: Surreal, tranquil, quiet

Moodboard/Colour Scheme:

(same moodboard as the previous scene)


The first draft was drawn and flipped to make sure it could fit into the canvas.

After that, details were added into the bottom half of the architecture before it was duplicated and flipped.



The structure was flipped and drawn floating in the sky to make it seem more unrealistic and surreal.

There are floating crystals containing star particles in it. There is also an hourglass that activates the yellow lever which subsequently brings the roller coaster up to the track that exits the canvas.


Scene #4: Upside down City in the Sky
Animation Process

Scene #5: Final Scene
Illustration Process


This is meant to tie together the whole video and to bring across the point that the roller coaster route and the landscapes are meant to be a representation of the way we feel or experience different moods of music.


Scene #5: Final Scene
Animation Process


Animation Process


Music was edited for the MAN version of the video.

Sound effects such as birds, subway, space sounds were added in to enhance the respective moods of each scenes.



CHALLENGES: Illustration

The main challenge in designing the landscapes were adding in the smaller elements such as windows. Because isometric designs tend to be very neat, adding in details to the illustrations was very tedious because of the need to align to the grids. Eyeballing these details without adhering to the grids would look messy and awkward.



Problem #1:
A lot of the buildings started causing problems once they were imported into after effect. First of all, the buildings, tracks and elements had to be separated into different layers. However, because the landscape was illustrated in a 3D space on after effect, the 3D camera angle would cause the different layers to shift during the video. This would cause weird overlapping issues or unwanted gaps in between them.

(gaps in between the water and the platform – they would continuously shift through the duration of the video)

To play with the Z axis of each elements to ensure each elements don’t fall under the same plane.



Problem #2:
Roller Coaster needs to be in 3D in order for it to be animated around the tracks.


Using Cinema 4D renderer to extrude it into 3D form but will eat into the rendering time of each individual scene.



Problem #3:
After effects don’t read Gradient well, causes intense lag when previewing.


Rasterize the gradient layers in Ai.



Problem #4:
Roller Coaster is not smooth when travelling from one location to another.


Easy ease in and out while at different check points.


With the process out of the way, here are the final videos!

Elphie Version (without music)


Media Art Nexus Version (with music)


That’s all folk! Thanks for reading this post!



Life and Death: Documentation


Programme Purpose/Objective

The main purpose of this installation is to allow participants the chance to take a step back to evaluate their lives so far. The installation aims to evoke recognition of the fast-paced lifestyle Singaporeans have in general. It also allows participants to reflect on the qualities of their life experiences and authentic connection they have with the things that truly matter in life. It also questions them on the meaning of their lives so far – if they were to die in this instant, what sort of legacy would they have left behind, and would it be something they could be satisfied with?


Programme Rationale

Singapore is a fast-paced society and there is rarely any time for people to slow down and truly appreciate life. We thus felt it was necessary to remind participants to take a breather and rethink the value of their lives.


Programme Details

The installation comprises 2 rooms, both of which are expected to work independently as well as together. The first room is a narrative recreation of Singapore’s fast paced life, and will end in the ‘death’ of the participant. This is followed by the second room which allows for the participant to do a self reflection of his/her death.


Artistic Direction

Life experiences differ from person to person, and we wanted to be as inclusive as possible to whoever that would be viewing it. The installation thus has a mixture of both literal and abstract elements. This allowed us to create a more poetic narrative that was more flexible, allowing participants to slip into the character portrayed.

We will be making use of sound, videos, voice overs and props to create the desired atmosphere. To ensure that participants are able to understand the installation, we decided to make only the voice over explicit while the rest of the mediums will be kept abstract.

Room 1

As mentioned earlier, the first room is a narrative re-enactment of Singapore’s fast-paced lifestyle. The room is set up with 3 projected screens adjacent to one another.

In this room we use the metaphorical representation of water as life and merge it together with scenes of the protagonist’s life. The protagonist is never explicitly shown, allowing participants to insert themselves into the narrative and relate the events with their own lives.

The three screens are played in sequence and document the growth of the character from a toddler to a teenager to a young adult respectively. Interlaced with the scenes of the character’s growth are scenes of coloured water droplets being dropped into a tank full of water. The water represents life, and the different coloured droplets represent the memories, experience and feelings associated with each growth stage.

The first screen narrates the toddler stage. The tank of water starts of transparent to represent the character’s innocence and purity. Her first memories, which are represented by yellow droplets are seen penetrating the surface of the water before spreading outwards. The screen then shows clips of a young kid playing with toys and having fun in the playground. The screen then fades back to the now yellow water in the tank.

The second screen starts playing as the first screen continues showing the yellow colours fusing with the water. Red droplets are added into the yellowed water, and is then overlapped with scenes of the character’s slow submission to teenage pressure and rebellion. She is stressed from studying and is too absorbed by commitments which result in negligence of her family. The screen fades back to the water, which is not a mixture of yellow and red. The water is now turning darker and murkier, symbolising the chaos and impurity in her life.

The final screen starts playing as the second screen continues showing the yellow and red tainting the water. This is overlapped with scenes of the character descending into a downward spiral in her life. She starts smoking, and is increasingly distant with her family. She is then seen fainting as the fast pace of her life has finally caught up with her and her health. She dies, and only realises the important things in her life during her last moments, when it’s already too late for her to change anything.

The screen turns black. Black is an irreversible colour, which means that the addition of other colours will not change it. Her life is over, and there is no turning back.

Room 2

While Room 1 focuses heavily on using videos, Room 2 shifts towards the usage of props and performance to create a reflective mood for the participants.  In this room, a mock ritual for the dead has been set up.

The room is darkened as much as possible, and a table is setup at the end of the room. On the table lays different objects that are related to death. They include red string, candles and flowers commonly used for offering. In the center of the table lies a dirtied glass bowl. This is a connecting element for the 1st and 2nd room, and is representative of an empty life vessel. Life, symbolized by water, has been drained out, and only the ugly stains of the black contaminated life has been left behind.  Behind the table stand a mirror that reflects the face of those who enter the room, and is meant to prompt participants to look at themselves and self-reflect.

As participants enter the room, a short performance is also put up. A male and female stands on either side of the table. They have a short dialogue about the character in the previous room.


Female: She didn’t have to die this way.

Male: But at least she was doing what she loved

Female: But what does that amount to?

Male: Have YOU lived a fulfilling life?

Female: Or are you just chasing after happiness that is only temporary?

After this short dialogue, an usher will come in to encourage participants to have a silent self-reflection for a duration of 1 minute. The narrative her is kept short as the main highlight here is the participants’ own involvement in the room.


Target Audience

Students of the School of Art, Design and Media and NTU aged 19-30.

Research Paper

For this project, we aimed to tackle and address the issue of leading a fulfilling lifestyle in a modern context. We observed that many youths face the similar issue of being overwhelmed by school work and other commitments, and often had little quality time with things in life that truly mattered. (BBC, 2007)

In our research, we came across one particular trend that had a huge impact on our artistic direction.

Due to high societal pressure and escalating suicide rates, the ‘Near Death’ movement has become increasingly popular in South Korea. This movement aims to address this issue by giving participants the chance to detach themselves from their fast paced lifestyle to reflect on their lives. As such, multiple ‘Fake Funeral’ services have been conducted across the country.. In this particular one, they are lectured by a philosophical guru and invited to write out their own eulogy. After that, they will be placed in a coffin for 30 mins to experience death. The act of being enclosed creates a deafening space of endless darkness, and the atmosphere allows the participant to evaluate their lives from a objective and detached point of view.  A lack of self reflection usually leads to people feeling lost and depressed, and this death meditation in the enclosed space forces them to look within themselves for answers that they have been seeking, but thought they didn’t have.

Another work we came across was Christian Boltanski’s The Heart Archive. Occupying a space in a museum on the uninhabited island of Teshima in Japan, this artwork collects heartbeat sounds from all around the world. Participants are invited into a room where they listen to the sounds of their own heartbeats through a headset. After that, their heartbeats recordings are saved and used in subsequent set ups of the art piece. The heartbeats are immortalized, and remain as fragile remains of their existence on earth.The work makes one contemplate on bereavement and what we remember during our existence on earth. As you take part in the installation, it evokes a sense of uncanniness which acts as a mirror of what lies ahead and our nonexistence in it.  The artwork questions the impact left behind by each individual whose heartbeat sounds have been recorded, and we believe the fragile and faint nature of the recordings makes one ponder on the meaning of their lives, and how many people they have impacted. It also relied heavily on symbolism and non-literal ways of portraying the theme, which we found interesting.

We believe these two artworks were greatly valuable and conveyed an important message. We thus decided to reference these two particular artworks/movements in terms of artistic style and content.


Life in the fast lane ‘speeds up’. BBC. BBC News, 2 May 2007. Web. 4 May 2007. “Fake Funerals in South Korea.” Vice. Vice Japan, n.d. Web. 21 Apr 2016.

Demetriou, Danielle. “Boltanski’s hearts don’t skip a beat.” The Japan Times. The Japan Times, 6 Aug 2010. Web. 4 July 2013.

Waters, Florence. “Christian Boltanski: The Heart Archive, Serpentine Gallery, review.” Telegraph. Telegraph, 12 Jul 2010. Web. 6 Aug 2010.

Artist Statement

Sheng-si (translates to Life and Death) is an immersive video installation aimed at the everyday individual. Through a series of video projections and an interactive performance, it addresses the the issue of a fast-paced lifestyle through a series of literal narrative scenes and abstract imagery. Drawing reference from the fake funeral trend in South Korea, Sheng-si ultimately aims to take participants through a renewal on their view of life and their purpose.


Group Artist Statement



For this project, I was mainly involved in pre-production. Because of the size of our group, there were a lot of challenges during the planning and conceptualisation of the installation. Because we had a total of 6 people, it was very hard for us to consider and include everyone’s input.

Our ideas changed a lot over the couple of weeks we had for this project. Our initial train of thought was to make it much more abstract because we wanted our installation to be very open to interpretation. For instance, we initially took inspiration from Christian Boltanski’s work, and wanted to have a dying heartbeat in the first room, while the second room would be more closely set up as a place of mourning with groups of flower petals and candles placed all around the second room. However, after consultation we decided to make it more accessible and understandable. Addressing the concern of whether or not participants would be able to understand our message, we eventually settled on using a mixture of abstract and literal elements. While we felt the previous idea was more poetic, it would have been harder for audiences to understand our message. We thus modified our content in a way that it would keep in line with our artistic direction of being metaphorical and symbolic while still being easy to understand and digest.

Overall, this project really gave me insight into planning a artwork with both the artist and audience in mind. This meant that the artists’ vision was achieved while still consciously taking into consideration the audience’s enjoyment and audience experience.

There was also a lot of trial and error involved in the process of planning our content and set up. The good thing was that we were a big group, and there were always a lot of suggestions for what we could try next.

Final Installation


(To ruyi: I know you were worried about our mental health, but don’t worry. You don’t have to be!)







Art History // Relfection & Final Thoguhts

*Reflection will be right at the bottom of the page!

(click here for original proposal post)

Chosen subject: Indian Buddhism

Group Mates: Chio Jo Inng, Alfred Yeo, Evangeline Ng, Lu Jia Xian

Museum Visited: Asian Civilisation Museum
Chosen Object: Gateway Bracket with four shalabhanjikas

File_001 (1)

Identified by her bosom and buttocks, the person identified in the sculpture is Yakshi.

We decided to appropriate this particular sculpture that we saw at the Asian Civilisation Museum.

Yakshi was traditionally considered a goddess of fertility because of her figure. However, in modern context, such a voluptuous body would be linked to the idea of sexuality rather than fertility and baby making.

As such, we thought it would be interesting to remove Yakshi from her past context to bring across the exploitation of a woman’s body for sexual purposes. To make this point stronger, we decided to create a FHM cover featuring Yakshi.


Additional Comments

After the presentation, I thought I should address some questions that Sujatha mentioned.

Although most local magazines don’t have double covers (the back is usually reserved for advertisements), we felt it was necessary to have two different versions of our cover page.

Front Page:FINAL NAOMI-01


Back Page: FINAL NAOMI-02

We felt that audiences would have different thoughts and interpretation on the dressing style when the identity of the figure was changed. We thus wanted to play around with the irony that Yakshi would be seen as fertile and child-bearing (and generally positive thoughts), while Naomi Neo might be slut-shamed for having the exact same body and dressing. We felt that this was in line with our aim in conveying the idea that the same object/form could be interpreted very differently depending on the context of the culture & audience.


Artist Statement

The image shown is a modern interpretation of the Indian Buddhist Goddess, Yakshi. Traditionally associated with the idea of fertility and nature in ancient India, she was identified through her large, round breasts, small waist and large thighs and hips. These days, the voluptuous body that Yakshi possesses may be interpreted in a totally different way. In the modern world, sexual objectification of women have become much more commonplace, and a voluptuous body such as hers may be seen as a tool of pleasure in the eyes of men. It is no longer associated with the idea of being fertile or baby conceiving, but instead as means of sexual gratification.  As such, we decided to remove Yakshi from her traditional context to show this shift in perspective towards the well-endowed body. To effectively bring across the point, we placed her into a modern piece of media that portrayed women in a more provocative manner that man would find sexually attractive.

The ambiguity created in the poster is also intentional, and meant to make viewers question the state of modern female sexuality in media; is the woman’s sexuality being subverted as part of a man-made construct, in the same way religion is sometimes criticized as a man-made construct? Or is the Yakshi/model exerting power with her sexuality, in the same way a goddess attracts worshippers? Just as how we have no idea if the models in FHM covers are happily and willingly doing their job, and as we have no idea if Yakshi is an influence or a result of influence, the state of female sexuality in the modern day is in a state of undefined flux.

Known for featuring the ‘hottest’ women on the planet, FHM was our choice of medium on which we would appropriate Yakshi. To localise it, we designed a Singaporean FHM cover featuring Yakshi in the form of Naomi Neo, a popular blogger known for her voluptuous body and outspoken attitude about sexuality. As such, we have created an artwork that appropriates Yakshi as a social statement and reflection on how much the meaning of a woman’s body have changed over the years.



  1. Manipulating Cultural Idioms.Sirhandi, Marcella C.. 1999. “ManipulatingCultural Idioms”. Art Journal 58 (3). [Taylor & Francis, Ltd., College Art Association]: 40–47. doi:10.2307/777859. in sculpture since approximately 200 B.C.E., the yakshi has always been conceived as a voluptuous creature with large globular breasts, small waist, and exaggerated hips and thighs. Bhattacharya’s female fatale, entwined by the vine that signifies her tie to nature, has tubular arms that echo the essence of the creeper. Her partner, emerging from the center of the flower, is literally the spirit of the plant-a common definition for yaksha/yakshi
  2. Unclothed sensual, feminine figure as one of the most canonical motifs of Indian art.“ART HISTORY AND THE NUDE: ON ART, OBSCENITY, AND SEXUALITY IN CONTEMPORARY INDIA”. 2004. “ART HISTORY AND THE NUDE: ON ART, OBSCENITY, AND SEXUALITY IN CONTEMPORARY INDIA”. In Monuments, Objects, Histories: Institutions of Art in Colonial and Post-colonial India, 237–67. Columbia University Press. different periods and genres, the voluptuous feminine body in sculpture came to be endowed with a variety of meanings. The figures came to be read as symbols of growth, bounty, and fertility, as the embodiment of a divine maternal spirit, or as classical literary ideals. In the process, the sexual form moved from its initial primeval association with nature and fertility rites to its later, more complex divine and aesthetic connotations.
  3. Interacting Like a Body: Objectification Can Lead Women to Narrow Their Presence in Social Interactions. Saguy, Tamar, Diane M. Quinn, John F. Dovidio, and Felicia Pratto. 2010. “Interacting Like a Body: Objectification Can Lead Women to Narrow Their Presence in Social Interactions”.Psychological Science 21 (2). [Association for Psychological Science, Sage Publications, Inc.]: 178–82. objectification occurs when a person is viewed as a mere body that exists for the pleasure and use of others (Bartky, 1990). This treatment targets women more often than men. For these reasons, women are theorized to willingly participate in their own objectification and become preoccupied with appearing as “good objects” (Fredrickson & Roberts, 1997).Drawing on these ideas, we predicted that when objectified, women would try not only to appear as good objects, but also to behave like ones.
  4. Contemporary Indian Art: A Question of Method. Sinha, Ajay J.. 1999. “Contemporary Indian Art: A Question of Method”. Art Journal 58 (3). [Taylor & Francis, Ltd., College Art Association]: 31–39. doi:10.2307/777858. reference from contemporary Indian art, much of which centres around adapting Indian cultural symbolism, was an important stepping stone in our process. Ravinder Reddy and other contemporary Indian artists’ works subvert or transform the meaning of traditional religious figures such as Kali and Yakshi into modern-day works into modern-day contexts, which served as an inspiration for our project.


Final Product


Interview with Yakshi on her ever-changing roles (click on image to expand):


Cover & Back Page:




I think this last project was a very appropriate one to close Art History with. Armed with the visual analysis skills we had learnt throughout this module, it was really fun to try interpreting and re-interpreting different artworks.

While visiting the ACM we came across the Yakshi sculpture and immediately realized that someone who did not know who Yakshi was could interpret the body in a very different way. Taking her out of context and just looking at her body visually, one would see her voluptuous figure and associate her with being seductive instead of being fertile.

We thus settled on the idea of appropriating Yakshi into an FHM cover. Because we aimed to show how perceptions change based on the identity of the body, we wanted to merge Yakshi with another figure who was know to be sexy. We settled on Naomi Neo, a famous local blogger who is voluptuous and known to dress provocatively. We also used FHM because the ladies that appear on the cover are deemed as desirable and sexy.

Even to a non-art person, the presence of a sculpture might be associated with some sort of deeper meaning and purpose, and placing the head of Yakshi on Naomi’s body would imply this supposed purpose. Upon removing the head, however, that purpose is removed and the body merely becomes one that is provocative and scantily clad.

Making use of our research material, we formatted a mock interview with Yakshi. We felt that it kept in line with our cheeky tone and helped strengthen our message.

All in all, I really learnt the importance of both visual and contextual analysis because they really do influence the way in which you understand the image. This is one take-away that definitely applies to more than just art history, and it’s a skill I hope to keep for a long time!

TODAY WILL BE A GOOD DAY // The Journal of an Optimistic Girl


To start things of, let me talk about my main inspiration, which was the second project for 2D and 2D II.

Here are the photos for reference!

Untitled-3Nursery Rhymes – She had so many children she didn’t know what to do.

2D PROJ 2 FINAL-01Happiness from the POV of a lover.

The underlying theme for my POV project was rather dark, but I wanted to try pushing the boundaries even further in an even funnier way.


I thus came up with the idea of doing a fully narrative book from the POV of the main character. I don’t have a name for her, but my friend said it seemed like me (since i can be rather oblivious and clueless too)!

To work with the juxtaposition of her happy character with the darker theme, I decided to make her a very very veryyyyyyy obliviously optimistic and happy-go-lucky character that unknowingly brought death and doom with her wherever she went. I though the best way to represent this POV narrative was through a personal journal, so that’s what I went with in the end.

(I realised i forgot to take a picture of my initial sketches before i attached them into my sketchbook, so i’ll just be including my digital images)

Process Work

To start things off, I did my cover page first. Since this project was supposed to be an extension of a previous project, I decided to draw a slightly grown up version of the blue-haired girl I had used in my POV project.ZINE OSS POST-02

I removed the black lines and added a nose to make her feel more matured.

I actually had a few problems drawing my characters because i’m not very good at visualising, so I ended up taking a few reference pictures and tracing it with the pen tool on illustrator!


These were used for the staircase drawing in my last page!


One of the bigger issues I had was a continuity issue in the pages. This was my original map in the book:


To communicate the idea that these places were visited in sequence, i placed the map behind each pages’ illustration.


I didn’t like it though, and I thought it made the composition unnecessarily messy.


Test Print/Mock-up



I did an elastic-band binding. Basically, the cover page and all individual pages have a cut out at the top and bottom of the page. The front page and back page sits on one long piece of paper and is separated by the book spine. The individual pages are aligned and placed into the cover pages, which acts as a sort of folder. The cover is closed with the pages inside, and the elastic band is fitted into the nooks at the top and bottom. The tension of the band then holds everything in place.

For this binding, it was very important for me to choose paper as thick as possible so that it could withstand the strength of the elastic band.


Cover Page

(Left: Front Cover | Right: Back Cover)

Page 2 File_007

My pages were initially two square pieces of paper stuck together with a flap. I realised later on that it felt very clumsy and messy.


Final Product

After printing, I decided to do away with the map in the individual pages. As mentioned earlier, I thought it didn’t go very well with the composition.

I then decided to make the place resemble places in NTU, and I think this helped (even just a little) to communicate the idea that these places were visited on the same day, and in sequence.

New Map:


The ‘Fresh Food’ place is actually Prime, and the pink building is Hall 8. The main character starts at North Spine before proceeding back to her hall.


The stairs’ and door’s colours were made similar to the ones in Hall 8.


Final final finalll product:

I’m sorry I don’t have any pictures of me assembling the book!

Binding took about 1 hour or more to do because I had to cut out all the individual nooks on each page. To give you a better idea of how i layout my pages, here are some pictures!

The extra space at the left of the page is allowance for the nooks and elastic band!

ZINE PRINT (FINAL)-05ZINE PRINT (FINAL)-12The cover page was printed on one continuous piece of paper (within A3). The center space in between the nooks was the book’s spine.

All my pages were single sided to keep in line with the journal theme. The pages are supposed to be added in when something new happens to the character, and it thus doesn’t make sense for the pages to be double sided. Also, the addition of the flap would make it too thick and bulky.


I also changed the way I pasted the flaps on top of my pages. Instead of cutting out a circle on the top page and pasting the rest of the page down, I decided to DIY my own ‘die-cut’, and left enough space on the left side of the page for it to be inserted into the binding.

The elastic band i used was a smooth one with no ridges that I found at artfriend (thanks joy for the tip!!!)






Here is the soft copy version with the main character’s musing/thoughts!



On the left is the happy part (top of flap) while the bottom is the more catastrophic side of events!



She reaches the top shelf for her fruit juice but it is instead knocked down and it hits an old lady, killing her. Instead of showing concern, she just genuinely wonders why the old lady would ‘sleep’ on the floor of a supermarket.



She decides to grab some coffee after her marketing errands (as seen by the plastic bag on the table), and muses about how much she loves her coffee. In her dazed mode, she accidentally lets go of her coffee, spilling it over another student’s laptop. The student is noticeably distressed before she spills the coffee, and is in shock as his laptop goes haywire after she spills the coffee. Of course, she is oblivious to all this!



After her coffee, she decides to walk back to her hall since it’s not too far away. She’s glad she doesn’t have to wait and squeeze into the shuttle or public buses to get back to her hall, and is using her phone on her walk back. A student on a bicycle attempts to avoid hitting her and is instead flung from his vehicle. Again, she is completely clueless and is (presumingly?) looking at cute animal videos on facebook.


Flaps-04Here, she is approaching her hall room. She is perspiring due to the hot water, but still has a smile on her face because that’s just the type of person she is. She smiles and always chooses to be positive :). One of her fruit juice unknowingly drops out of her plastic bag, and the guy climbing behind her trips and falls, dropping his laptop casing with him. She turns back and is concerned about him. However, she doesn’t realise it’s her fault, and merely thinks he was just taking a short break from climbing the very steep stairs. 


Despite all that happened, she is still totally oblivious (haha)! She starts and ends everyday with a positive and happy mindset, which is why the back cover says “Today was a really good day”.  I added some extra strokes of blush on her cheeks because she’s flushed from being so happy.  (๑•͈ᴗ•͈)



I was really really happy that I had the chance to do this project! It definitely gave me the chance to further flesh out my ideas and I really enjoyed creating the narrative. I’m glad I got the chance to develop my characters and style and I look forward to more exploration during the holidays!

To end off, I would really like to thank Joy for always being so encouraging! I really learnt a lot this semester, and I feel that Joy’s encouragement and constant feedback really helped to push me further along in my design journey! I had more courage to explore what I wanted to incorporate in my style and I appreciate that so so much so THANK YOU JOY!!!

ヽ(◕◡◕❀ฺ )ノ   ヽ(◕◡◕❀ฺ )ノ   ヽ(◕◡◕❀ฺ )ノ

Visual Response Proposal

Chosen subject: Indian Buddhism

Group Mates: Chio Jo Inng, Alfred Yeo, Evangeline Ng, Lu Jia Xian

Museum Visited: Asian Civilisation Museum
Chosen Object: Gateway Bracket with four shalabhanjikas

File_001 (1)

Identified by her bosom and buttocks, the person identified in the sculpture is Yakshi.

We decided to appropriate this particular sculpture that we saw at the Asian Civilisation Museum.

Yakshi was traditionally considered a goddess of fertility because of her figure. However, in modern context, such a voluptuous body would be linked to the idea of sexuality rather than fertility and baby making.

As such, we thought it would be interesting to remove Yakshi from her past context to bring across the exploitation of a woman’s body for sexual purposes. To make this point stronger, we decided to create a FHM cover featuring Yakshi.

That’s all for now!


support #bosombuddies y’all

2D Assignment 2 : Point – of – View

I had a lot of conflicting feelings and thoughts regarding this project when I first stared.

Happiness differs greatly from person to person, and I had a hard time finding the angle from which I wanted to focus this project on. Similarly, it was hard for me to decide on a style that I thought was apt.

I personally prefer darker themes, but I don’t necessarily agree with the colour palette for my own works. The style, therefore, was a huge block for me when I was in the midst of the conceptualisation process.

My personal favourite works were from the Nursery Rhymes last sem, and I wanted to combine these darker themes into my work and subsequent style.For reference:



Trying to create/define my style was definitely something that I couldn’t do within the shortperiod of 4 weeks so for the purposes of this project, I decided to with a quirkier style that hinted at some sort of impending doom.


For the following part of the post I’ll be taking you through my process and random drafts I did along the way.

Here are my 6 lines:

  1. Happiness from the point of view of a lover is being one with their other half.
  2. Happiness from the point of view of a introvert is being alone.
  3. Happiness from the point of view of a condom is having a fulfilled life.
  4. Happiness from the point of view of a armpit hair is being beautiful.
  5. Happiness from the point of view of a toast is getting a perfect score.
  6. Happiness from the point of view of a ADM student is sleep.




Process Work-01 Process Work-02

“Character” Design:

I’m really bad at drawing and I don’t quite have my own style yet, so this was me trying to settle on a character that I could use throughout my 6 works!

Process Work-03 Process Work-04

My “evolution” of characters

Final character:

Process Work-10

My initial idea was to make the female character a harbinger of happiness so I choose bright colours and a quirkier dressing sense for her! I thus tried including her in all of the compositions.


Happiness from the point of view of a lover is being one with their other half.


Initial Drafts:

I actually got this idea when I was watching Leonardo Dicaprio’s Revenant. It was a scene in which Leonardo Dicaprio was stranded in snow, and he carved out the insides of a dead horse so that he could sleep inside of its dead body and use it as a warm make-shit shelter.

My first attempt was thus to draw the female character inside of her boyfriend.


Process Work-06Process Work-05


I thought this didn’t look very polished or clean, so I decided to change the design to the following:

Final2D PROJ 2 FINAL-01


I had a lot of fun with this, and thought it would look nice as a GIF, so I did:


(GIF – Please right click & open it in a new tab if it doesn’t work!)


Happiness from the point of view of a introvert is being alone.

Initial Idea – Suggesting that the female character is there by showing only her face and part of the lines of her robe. Inspiration was drawn from Harry Potter’s invisibility cloak.

Process Work-09

I scraped this idea because it wasn’t very quirky.



The idea here is that introverts want to be left alone and have their own private space. The only way this would be possible would be to be away from all sorts of social contact. So space it is!

As mentioned earlier, I wanted a sense of impending doom in all my pieces, and in this image it can be seen through the crack in her helmet. There’s no spaceship in view, and she’s not connected to anything else. Therefore, her eventual fate is death!

Happiness from the point of view of a condom is having a fulfilled life.

Initial Idea:

A phallic looking mini balloon pump attached to a condom, filling it.

Process Work-12Variations on types of pumps to use:

Process Work-11

I couldn’t bring out a sense of doom with the previous composition, so i changed it to a condom in the process of being thrown away after it’s temporary happiness.


In the dustbin is a condom box, a used condom, tissue papers and the girl’s yellow socks.

Happiness from the point of view of a armpit hair is being beautiful.

I wasn’t so sure on how to start on this one, so I just did a few sketches first.

The figure on the left is a copy of Sailor Moon’s transformation. I wanted to make use of a female character that is idolised/considered pretty and wanted to replace the ribbons in Sailor Moon’s transformation with armpit hair (quite gross, i know hahaha).

Process Work-13

Got a suggestion from Leon from the other class (thanks Leon!), and decided to go with Rapunzel since she is know for having very long and desirable hair.

Process Work-14

I initially attempted to keep the background simple so that it wouldn’t stand out too much from the the compositions, but my friend mentioned that it looked more like a well than Rapunzel’s window.

Including the rest of the building:



Centralised to fit in with the rest of the compositions.

Included a shine effect and cartoon stars to the hair to make it look funnier. Added it “I am beauuutiful” because it finally feels as desirable and pretty as it’s head counterpart!


Happiness from the point of view of a toast is getting a perfect score.

I got this idea from a toaster. There’s always that struggle to make sure your toast lands on your plate when it pops out of the toaster in cartoons, so I thought it would be funny if a toast’s life goal was to score a perfect landing once it’s ejected.

My first draft was just of a bread flying out of the toaster, and during consultation someone suggested that I turn the scene into a cheerleading competition instead ( I’m sorry i can’t remember who, but thank you!!)


Dressed up for cheerleading (ノ≧∀≦)◞✹2D PROJ 2 FINAL-07


Added in soya sauce, sriracha, salt and pepper as audience/judges.

Toast getting into a cheerleader formation and getting a perfect score of 10. 



(GIF – Please right click & open it in a new tab if it doesn’t work!)

Happiness from the point of view of a ADM student is sleep.

If you’ve noticed, the female character actually kiiiiiind of resembles me (hair), and I did this on purpose. In the first part of my post I mentioned that the female character was supposed to be a harbinger of happiness, and I wanted the last frame to be a sort of end to this whole series.

In short, I initially wanted all the other characters to be a part of the girl’s imagination and that she can finally sleep (and be happy) once she stops thinking about these sort of weird ideas (cause assignment is submitted!!!).

Buuuuut, I decided to abandon this idea because it didn’t sound very fun. (I originally wanted to make the last image different in composition and colour the whole A5 page to show the change!)


An ADM student (hinted at because of the macbook) is seen wearing a polar bear onsie with eye bags under her eyes, ready to hibernate and sleep off her exhaustion. Calender states 17 March because that was our submission date for this assignment.



Happiness from the POV of a cloud is relieving itself. 

This was one of my original ideas, but i felt it was the weakest idea out of the rest so I decided to exclude this during presentation:

(GIF – Please right click & open it in a new tab if it doesn’t work!)

With that, I conclude this post.

This assignment was really fun as I got a chance to figure out what I liked and what kind of direction I would like to take for my future assignments. It was challenging in that sense and I definitely spent a lot of time on the design of the characters even though they are all pretty simple. I wouldn’t say I am 100% satisfied with it because I feel it is still lacking a lot, but at least it’s a small step forward! 🙂


4D Project 2: Sound

Sound Clips:

Track 1: Horror Scene

Track 1: War Scene

Before starting on the project, I first made it a point to go to youtube to listen to different movie and game trailers to get a better sense of the ambience and atmosphere for each situation/genre.

Track 1: Horror

I did a quick google search, and here are some of the trailers/soundtracks that I referenced:

(list clown / creepy videos)

(American Horror Story Freak Show Main Title)



The scene opens with the character being caught in the rain late at night. Seeking shelter, he enters the first building that he sees. It becomes quiet, and something behind her drops to the floor. She hears a sharp whistle, and a jukebox suddenly starts playing as she hears someone breathing heavily in the room. She turns behind just in time to see a clown laughing at her. Before she is able to react from the shock, the clown lunges at her, ripping her body apart. His laughter reverbs and the scene cuts back to the exterior of the building.

Breakdown of Sound Clip/Explanation:

Initially, I wanted the scene to happen in the character’s bedroom. She would have woken up from her sleep only to find that the clown from her nightmare had come to life. However, I realised the idea was a bit hard to execute without visuals and decided to change the idea. The clip was also supposed to start off with a soft rain sound (to suggest that she was sleeping soundly during a rain before being woken up).

I believe most people feel comforted, cosy and relaxed when they hear rain sounds, and I thus wanted to invoke this false sense of security before the events in the scene unfolds.

I then added in the creaking floor boards so that listeners would know that she had entered a older house since we normally associate creaky floor boards with old, large houses.

This was then followed by a low hum that ended with the sound of something crashing. This was intended to contrast with the otherwise quiet and monotonous sounds that preceded it. I then overlapped the jukebox, clown laughter and deep breathing (which was recorded by me) to create more depth to the sound. I then added in various gore sounds to imply that the character was attacked and mauled by the clown after being discovered. The sound that fades out, and the rain sounds fades back in again to give the impression of the camera panning out of the scene and into the exterior of the building in the rain.

I also added in 3 ambient sounds that stayed constant throughout the whole clip. The clips were static noises, a indoor basement room tone and a brass metal sound.

Track 2: War

These are some of my reference videos:


The scene starts from a wide angle/bird’s eye view of the war that has just started, and war cries and various monsters can be heard engaged in battle.

Various weapons can be heard. These include catapults, swords, box and arrows and spears. The soldiers wield weapons, while the beasts fight with their own strength.

The focus is then brought to one particular battle between the 2 chiefs of the individual groups. One of them is struck down fatally with a sword, and he dies, and the scene ends as he takes his last breath of air.

Breakdown of Sound Clip/Explanation:

The setting of the story is supposed to be a mesh between fantasy and war. The original idea was to have two contrasting groups go to war at one another. One such example would be magic wielders vs melee fighters. However, I realised that it would sound very messy and confusing without any visual aids. I thus decided to focus on a war between two different melee groups.

To bring across the idea that the war is set in a fantasy world, I added in various monster growls and grunts and overlapped it with other war noises. Other war noises included horses galloping, soldiers’ war cries, bow & arrow sounds and the clashing of swords.

It was difficult to think of ways to wrap up the war scene, and I thus decided to end the scene by zooming into someone dying. This gives the impression that someone important/crucial to one party has died, symbolising the end of the war.

To illustrate the idea of the main character dying,

Rather than being the ‘main’ war scene in a movie, I imagine this clip as a flashback of a past battle/war that ended in a way that was rather swift and uneventful (as compared to the climax of the movie). If not, it could be used as the opening of the movie to establish certain contextual knowledge/history about the parties involved in the war.

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