FUTURE WORLD

is an interactive space consisting of numerous exhibitions where visitors can interact and immerse themselves in a ‘magical’ environment. High-tech interactive artworks in Future World are created in collaboration with teamLab, a renowned interdisciplinary art collective. It is here where we see a fusion and removal of boundaries between art and science. How appropriate it is to be held at the Art Science Museum!

INTERACTION.

It is defined as a reciprocal action or influence, involving two or more objections or persons.

As we previously learnt, interaction come can in many forms, namely:

Man-man interaction

Man-machine interaction

Machine-machine interaction

In future world, we are able to see all of these types of interaction happening. Man-man interaction is displayed through the observation and reaction to other people’s input onto the interactive screens, which I will discuss further. Man-machine interaction occurs when the visitors are required to sketch a drawing, move closer to the installation or follow an instruction to receive a reaction from the machine, in this case the installations. Machine-machine interaction is displayed when we move an object, for example in the City In a Garden – Giant Connecting Block Town, when a block is moved to a different location, the map recalibrates and reflects the current location of the block in the virtual map.

Real time change in location of objects, synchronized with the physical location of representation objects placed.

An interactive artwork should invite visitors/participants to think, take a step back and observe. It creates a personalized experience and opinion towards that particular artwork. We deviate from the typical need to critique and evaluate each artwork based on how ‘good’ it is, how it is able to accurately depict or evoke a certain emotion or get that certain reaction from its audience. Instead, we as the audience break down and digest the artwork empirically.

Certain level of understanding is needed before a viewer chooses to interact with the object. We as humans have the tendency to fear what we do not know and reject it. As much as we tend to give the audience the freedom to interact, we insert controls to guide the viewer, which does so much for us. These controls can help preserve our artwork, tailor user experience (albeit to a small degree), and most importantly ensure that the interaction becomes a positive experience. These ‘controls’ usually come in the form of instructions, or guides and hints that lead us to a certain action(that is usually unrestricted) that kick starts the entire experiential process. Without these controls, there will be little to no understanding from the viewer and thus restrict or compromise the experience. Let me provide you a few examples.

*170314_Sliding through the Fruit Field_nontelop

As seen in the Sliding through the Fruit Field installation, there is a set of staircase that leads people up the top of the slide, where they can slide down and observe the interaction beneath them. They ‘become a beam of life-giving sunlight, and as they glide down the slope, their energy is transferred to the fruit field, causing flowers and fruit to blossom and grow’. Even though the interactivity is the most important aspect of this installation, without the control(staircase), users may not be aware on how they should properly interact with the Fruit Field installation. Users may end up trying to climb up the slide via the interactive screen, which increases the chance for injuries etc, or end up not interacting with it at all because they don’t know how to.

At another installation, called the Sketch Aquarium, viewers see a set of tables and chairs, with a giant screen that displays the Aquarium. There is a set of instructions like this:

These set of instructions and description helps contextualize the artwork, and in my opinion, although done as an afterthought(so I would assume), it is a vital asset of the artwork.

As previously mentioned, the control acts as a guide and thereafter, the freedom of what to draw, where to touch etc. belongs to the participants.

I drew a gentlemen jellyfish and scanned it, adding it to the collection of fishes appearing in the Sketch Aquarium.

Video of my jellyfish

It was also natural for viewers to read and observe other viewers’ creations as well. One viewer had written on his fish ‘Free HK’, which reminded me that the content scanned and uploaded were unfiltered. This allowed the viewer to actively voice his opinion on the Aquarium, as part of the ‘freedom’ he was entitled in this interactivity. Could this be then considered a limitation of the artwork? After all, any viewer could exploit the use of the Aquarium.

SPACE – Crystal Universe

SPACE – Crystal Universe was strategically placed as the last artwork before the viewers finish up their tour of the FUTURE WORLD exhibition. The artwork consists of over 170,000 LED lights and a panel to walk through before reaching an open space that viewers can capture the entirety of SPACE. I believe that mirrors were placed on the sides, top and bottom of the lights to multiply the illusion of the countless LED lights that resembled stars. The concept of space and the unknown will forever be intriguing. The beauty of the galaxy and its vastness is reflected in pop culture, where movies are based in Outer Space. Although I did not linger in the art space, the interaction encouraged me to step back and think about the interactivity that it involved – the swiping on our mobile devices to change the light effects on the installation. The physical element of simply touching the artwork is removed, since we send our response through the internet. Will that, then, change the experience of the users when the element of touch, thus interactivity, is changed? The medium, in which we are able to interact, therefore affects greatly how we receive the experience.

 

Initial thoughts of the installation:

Entering the space where the exhibition was taking place, I was greeted with the sight of what I thought was coffee tables, with the audience occupying the seats and due to the limited seats, many viewers stood around as the live performance unfolded. I was perplexed by the setup, as I went in with little knowledge of what was about to take place. Random, loud noises could be heard at the installation and shortly after, performers accompanied the ‘chaos’ of the noise that filled the environment. The nonchalant performers dawned on a large mask/head set that impeded his vision. It was only later, after reading up on the artist and his thought process of creating such a niche field of art in media that I understood slightly better.

Set up:

The setting inhibited from ‘Disappearance, bar in the gallery’ by Lee Kang So in 1973 involves the display of Korean tables and benches placed in the gallery, as if to re-enact the scene of a Korean bar which involves distant chatter, laughter and shared experiences from daily struggles and accomplishments delivered through conversations. The presence of physical ‘history’, which included alcohol stains, dents and burn marks from cigarettes of the dine-in tables was missing, suggesting that the artist was moving away from the focus of reminiscence and the lingering effects of a location. More evidently, we could see that the artist manages to use the benches and tables not only as props but incorporating them to become an essential element of the exhibition. The bar serves as a place of socialization, a perfect scene for the artist to deliver his message across to his audience. As we continue to unravel the artist’s intention and art direction, we may find that the relevance of location played a crucial role in helping the artist express his thoughts through Life circuit.

 

Life circuit- concept:

Urich Lau, the artist in question takes on a tangible and performative approach to his artworks. His intention was to create a circuit – which consists of an input and output – between his audience and him through the introduction of an alternate space in which he navigates and ‘interacts’ with his surroundings. While being ‘impeded’ by sight and hearing, one questions whether this is really the case – he is somewhat able to weave through and make his way around by live feed and audio-visual information.

Communication and exchange with the art seems to manifest in a bizarre manner – the layering of ideas that the artist has constantly engaged in his artistic oeuvre where he addresses issues of surveillance and viewer participation(non-participation in this case). The presence of the viewer automatically translates into participation as he connects with them through the medium of his alternate reality – he projects live visuals of the viewers without their permission, which I believe is his way of communicating the lack-thereof privacy and discomfort in being under surveillance.

Critique on Singapore’s art scene – Life Circuit touches on the issues pertaining to the contemporary art and heritage in Singapore’s context. He occasionally flashes the National Art Council(NAC)’s mission statement, which baffled many of us who sat in for the performance work. However, it was not difficult to tell that the artist meant for viewers to question about it relevance and thus understanding the intention of the artist. To us it might have meant nothing, the seemingly abstract display of text actually delivers a strong message – to encourage us to challenge our perception on creating art in Singapore’s context and discovering how much or little we are able to exert our creativeness. Are we then restrained by the boundaries set by council that we are unable to seek a certain direction in art?

To champion the creation and appreciation of the arts as an integral part of our lives.

Commentary on the embrace of technology – we live in an era where mobile phones and social media become far more than simply communication. It is intertwined with entertainment, many of us are so used to this form of entertainment that we become indifferent to it. We are consumed by the visuals and accessibility provided by social media, as we slowly stray away from the need to have real, physical interaction that require effort and time. I asked myself this: in light of the 21st century, why did Lau’s Life circuit gadgets look old-school? He uses basic ear muffs, a gas-mask looking device and small projectors that replace his eye function. In this day an age, was it really necessary to attach the over-the-top amount of wires instead of using wi-fi and bluetooth to make his ‘helmet’ look cleaner?

In hindsight, that may be the whole point – to allow us to see the raw nature of technology – the amass of wires that leaves us wondering whether technology we integrate into our lives actually serves to benefit us or weigh us down.

 

Reflections

The process of making this lint roller was tedious. Every step of the way required much thinking, especially when I decided to cut a compartment in the roller casing and then sanding down a slope/triangular shape. I faced many problems on the way and somehow it allowed me to think of unconventional or ingenious methods to solve them. Due to the scale of the object, I had to cut the roller casing into 4 different parts so that i can sand the inner compartments. Afterwards, I had to piece all of them together and sand them again. I was happy with how the model turned out and definitely satisfied with not having taken the shortcut of leaving out some intrinsic details and changing my sketch model to simplify it. The sheer scale of my object meant more work for me but I can now confidently say that I can achieve what I set myself to do. Being practical was very important as I rationed my work into days, knowing that I would need ample time for the putty or glue to dry so that I could continue to my next step. Overall, my inexperience in form made me despise the process but enjoy the outcome. The inability to deal with foam in an efficient manner was really disturbing to me and I constantly use the google search bar to find better methods/solutions to my model. I have learnt a great deal through this project and am excited to do more challenging assignments in the future.

Micro-Project 4: Disobedient Object
ALL by Rui Hong & Daryl

Assignment Brief:
Using Arduino and its sensors and actuators, we were tasked to hack an everyday household object and make it behave in an unexpected/disobedient way.

Ideation:
The object of our choice was a doorbell, or rather the concept of a doorbell (We didn’t want to destroy and pluck out our actual doorbell). We chose the doorbell as it is an object with an obvious purpose and a predictable outcome when interacted with. Placed beside a door, the object, being a button, is easily recognized and participants would immediately know how to use it. The call to action for the interaction is straightforward and participants will assume to know what is the outcome–only when you press the button, the bell will ring once-Ding Dong. Here, we have an opportunity to use that assumption to create a new and unexpected experience.

Hence, the disobedient doorbell was meant to play on that preconceived knowledge of the doorbell mechanism. So instead of a doorbell that activates when you press it, it will activate before the participants presses or even attempts to press the button.

There are 2 stages of this interaction:
1. The participant approaches or comes into close proximity to the door and the doorbell will unexpectedly ring. The doorbell will continue ringing as long as the participant remains in close distance. (We estimated the distance for the bell to sound to be around 15-30cm.) When participants walk away or retract their hand, the ringing will then stop.
2. With the bell already ringing, when the participant chooses to press the doorbell button (we anticipate that participants will assume pressing the button will stop the ringing), the ringing gets louder to an uncomfortable volume with some distortion. Holding onto the button will keep the ringing at the louder volume while releasing the button will bring the ringing back to its original volume. Again, when the participants choose to walk away or retract their hand, then the ringing will stop.

The disobedient doorbell is meant to make the participant feel alarmed, confused and panicky like the participant is not supposed to be there, encouraging the participants to leave the site of interaction.

Realisation & Delivery:
So we started on our building process.

Inspired by the class workshops on the photocell with LED light and piezo buzzer, we combined the codes and modified the circuitry. Instead of the LED lighting up when the threshold of the light reading is low enough, the buzzer will sound. We then coded the buzzer to sound like the average 2-tone doorbell.

Progress & Final:

Video:
In Situ Video here. https://youtu.be/eVCgNR0CAl0


DARYL

What are some reactions you observed from your participants when they interacted with the object?
Participant #1: When #1 approached the bell, she didn’t realise that the bell had already rung when she approached it. She proceeds to press the button, which made the ringing louder, but she remains confused from the interaction. In the feedback session, she mentions that she is intrigued by the bell but wasn’t aware of the bell ringing in advance.

Participant #2: Given that #2 has observed the interaction of #1 with the bell, her interaction with the disobedient bell was closer to what we intended. As she approached the bell, she waves her hand in front of her, trying to test the bells sensitivity. However, the bell only reacted when she tries to press the bell. On multiple tries to press the button, when the bell rang prior to her touching the button, she retracts her hand as if the bell were a buzzer, telling her not to press the bell. She gives up trying to press the button and leaves.

Participant #3: The last participant, having observed the 2 interactions before her, reacted and had the thought process we intended. As she approaches the bell, it sets off even before she lifts her hands to press it. She jumps from the unexpected alarm. She continues to try and press the button. Because the button broke, we simulated the effect of the louder ringing as she pretends to press the bell. In the feedback, she mentions how when the ringing starts, she assumes that the button will stop the continuous ringing, hence she attempts to press the button.

Challenges & Problem Solving:
What are the challenges involved and how did you overcome them? What problems still exist? How might you overcome them eventually?

[Daryl: For the first few classes on Arduino, we were taught to use the arduino board and breadboard, learning how to use specific inputs such as the piezo buzzer, LDR sensor, LED and switch amongst other things. Given our inexperience, we took a while to figure out how the circuits would work, and through errors on writing the sketches we understood coding better.

The first challenge we encountered was starting on the coding. A blank screen can be quite intimidating and we did not know where or how to start. We then decided to work off existing codes we practiced in class. We started with the codes from the photocell workshop then incorporated the codes from the piezo buzzer workshop. We also used the IF & ELSE code from the LED workshop. After a few tries, we manage to get the piezo buzzer to sound.

The second challenges was finding the right sensitivity for the bell. We were not sure how close we wanted the participant to be. On multiple occasions, the bell became unpredictable and started sounding off whenever or did not sound at all to any interaction. We figured it was the angle of the photocell which affected its sensitivity.

Lastly, we had some difficulty fitting everything into a compact object and creating a button to extend from the breadboard to the cover of the case we built. We took a while to get the correct measurements and finish up the case for the doorbell. (After the in-class test run, we realise that the material of the object can also affect the way people interact with it and how they approach the object. We will consider the effects of materials for the next project.)]

RUI HONG

What are some reactions you observed from your participants when they interacted with the object?

Participant #1: Participant 1, being the real guinea pig in this situation, approached the doorbell with confidence to test out the doorbell. It rang on queue and as there is only 1 button on the foamboard (which was intentional as to lead the participant to try it out on instinct), she pressed it and it gave a secondary beep. She didn’t seem surprised by the louder secondary beep. As we are used to having a ‘click feedback’ when we press a button, the foam button made it hard to feel the ‘click’ and that prompted her to press harder onto the button. What happens afterwards can be seen in the button. Besides the click feedback she was looking for, I felt like she may have expected a different result (such as a louder beep or a different sound) from subsequent presses and that may have prompted her to try again.

Participant #2: Participant 2, having observed participant 1 gained some insight on how the button may work. Approaching the doorbell, she tested out the sensitivity of the photocell by waving her hands in front of it. After that, she attempted to press the doorbell but was prompted by the initial beep of the doorbell to refrain from doing so. She ended up not pressing the doorbell, which I felt may have caused her to be uncomfortable and leave the interaction space (which was one of the intended outcomes).

Participant #3: Our last participant, having observed two interactions, had a similar thought process as us. She startled at the initial beep as she approached the doorbell. Thinking that the doorbell might stop ringing as soon as she presses the button, she is ‘pleasantly’ surprised at how it didn’t stop ringing, but got even louder. The doorbell then obediently invites the participant to leave with the annoying beeping.

What are the challenges involved and how did you overcome them? What problems still exist? How might you overcome them eventually?

For the first few classes on Arduino, we were taught to use the arduino board and breadboard, learning how to use specific inputs such as the piezo buzzer, LDR sensor, LED and switch amongst other things. Given my inexperience, I took awhile to understand how it worked and had to refer back to slides more than just a couple of times. We bumped into a few incompatible sketches which helped us understanding the coding process better.

We started from scratch as we didn’t want to confuse ourselves. The way we revised the arduino coding was to wire the circuit according to the slides and then stare at it until we understood how and why the circuit works. We then read the code and change certain values in the sketches to test out the coding to give ourselves a better understanding. We knew what components we wanted to use, the problem was combining the existing codes to form the correct sketch that would work. We stuck to what we learnt from the workshops, coupled with a few references from existing codes from the google search bar.

The second issue we faced was the ever-changing sensitivity of the photoresistor. Due to the different environments we were in when we worked on the arduino board, we had to tweak the sensitivity according to our classroom to make it workable. This was one we were able to work out easily as we had had a few goes at changing the sensitivity before going to class, so it didn’t seem like much of a hassle.

The third issue was the design of the board; the measurements had to be exact so that the photoresistor could stick out just enough for it appear on the foamboard we made. We took a few tries (shaving down the board) before the photoresistor would stay obediently in place. In hindsight, we could have used crocodile clips and other materials to extend the flexibility of our foamboard. We had decided to keep the design of the foam board as not to confuse our participants. In our test-runs, we realised that we have always tested it while the foam board lies flat on the table. We should have tested it in an upright position for more accurate results.

Area of improvements:

  1. Test runs can include more situations, different angles of testing to ensure an accurate experiment.
  2. Prototype board can be more sturdy and should not obstruct our participants from trying out the doorbell as they are afraid of damaging it.

Thank you for reading!

My process to break apart the lint roller.

We were tasked to create 40 individual thumbnail sketches from our Assignment 1 item;

which happened to be a lint roller for me. On hindsight, I did regret choosing lint roller as

my object of choice as it was too simplistic in design and lacked the intricacies of other

objects such as hair dryer or vacuum cleaner, or even a drill. Thus, starting on Assignment

2 felt like a mounting task as I really struggled to come up with new ideas and kept referring

to existing objects to help me come up with my ideas. I really disliked THAT process and I

felt no sense of ownership of my drawings as they fell way below my expectations. Why

would anybody find my idea interesting if it was simply based on another invention?

 

Thus, after 26 painful sketches… I decided to redo the entire draft. This time round, I looked

long and hard at my previous sketches and used elimination to the sketches I felt were OK

over to my new sketches. After a few youtube videos for inspiration and listening to talk about

how ‘limitless’ and interesting it is to come up with ideation sketching, I picked up my pencil and

marker and just kept going at the paper, erasing from time to time to make sense of my sketches.

What I felt was really intriguing was that I would lean back and try to connect the dots after sketching out.

This kept the process very fascinating and to be honest the hours spent drawing the sketches didn’t

feel as long.

 

I was really glad to have thrown the old sketches out and start over, instead of ‘salvaging’ it. Breaking

apart the archetypal components of the lint roller allowed for much more creative space.

Video done by:

Han Yun, Daryl, Li Xuan and Rui Hong.

This video project tries to incorporate the DIWO concept, which I felt that we had done it in our special way. The project was initially very hard to brainstorm as we thought deeply about the technical aspects of making the video look nice with the visuals. As we discussed further, we realized that that may lead us to miss the point. We shifted our focus to a clearer concept and made the video simple to digest for the audience. That said, we did not take shortcuts and coordinated thoroughly to make a ‘good video’.

Guess what. There were a few screw ups here and there. Instead of being angry at our imperfect video, we laughed instead as we really enjoyed the process and watching others panic on video (obviously) // slightly schadenfreude(ic) . Lets dive into the concept.

We are a group of university students at immensely different settings, with similar lighting conditions to represent morning/afternoon timings that we share. Although we are fair apart, we feel easily connected through the 4 tiny split screens on our mobile phones. Our physical distance was minimized by technology. The video shows the transitions and varieties of things we do in our individual settings. We started and ended off our ‘day’ by tapping in our matriculation card to show the consistency of our timings.

First activity that happened was Li Xuan brushing teeth. Daryl, Han yun and I were onlookers, being ‘updated’ on what Li Xuan was doing at that point of time. She passed up her tooth brush, which transformed into a mobile phone for me to place calls.

The rest became the onlookers as I placed my calls. Shortly after, I passed my phone to the left which turned into a pair of scissors for Han yun. By this point, you’d realized a bit of cheesy connection we had tried to make.

For some reason (not for us to judge), Han yun chose to cut her hair with a pair of scissors (which actually happened) and as you watch the video you can tell by her genuinely surprised look. Immediately regretting her decision, she passes on the pair of scissors to Daryl, who transforms it into a pen to draw on his sketchbook.

After drawing on his sketchbook, it was lunchtime and we managed to share a virtual – realistic meal together by having Daryl hand out our lunch to us (eating the same food) and stopping whatever we were doing. 

After the meal, we continued our day by connecting our lives together with music, having it played as if we were together and sharing the moment together. We did different things, such as dancing, studying, having a drink and using a laptop. This concluded our journey of our daily lives, which ended off in a ‘unison’. 

WALA. Here is the vid:

Overall, I felt that I really enjoyed the process and outcome. The creative freedom given to us made us explore more and I’m glad that we did not just go ahead with some lame idea that we were not passionate about. The stupid grins on our face was mostly from trying to remember our positions on the master screen and where to pass the objects to. There was much coordination and positioning but we did not feel obliged or burnt out from our failures. After a few tries, we managed to come out with the final piece! The wifi was really bad and kept cutting us out of the chat and resetting our positions, so those were some obstacles we faced.

Overall Reflection

I felt that micro-project 3 provided the most creative control. We were not exactly limited by theme or even space, little to no guidance was given meaning to say we could definitely explore more options than normal. The brief was rather hands-free, and other than the duration of the video as a creative control we pretty much had our own space to brainstorm.

For micro project 2, we had to limit our conditioning options as we didn’t want to inflict unnecessary pain and we had trouble in the initial stages to attain our desired number of audience. We could not control the number of participants, nor automatically garner the response we wanted online (thus improvising on posting a Instagram Picture to increase traffic to the Insta Live). 

For micro project 1, we were limited in terms of space and posting on a social platform exposed to friends and strangers alike kind of limited and pressured us into taking ‘decent’ photos that were acceptable on the social media site.

 

Micro project 2 had the most unpredictable outcome in my opinion. Firstly, we have to factor in the traffic that we could do little to control. Secondly, for participants, they weren’t exactly sure that we were doing a project and did not understand the intended purpose. Although we did successfully manage to retrieve the schadenfreude experience from the participants, it was a hard project to control and much improvisation was made.

I felt that if we consider BOTH Open Source concept AND DIWO(do-it-with-others) concept, micro project 1 would win hands down. As you can tell, micro project 1 is technically still on-going. Anyone can edit according to the hashtag and add on their own interpretations onto the hashtag page. Micro project 2 and 3 were rather short lived due to either needing a live audience or limited participants to 4 people(in our case). 

Thank you for reading!

Picture of lint roller


Drawing of lint roller


2 point perspective drawing of lint roller

We were tasked to produce a 3rd angle projection of a select household object, an isometric drawing of the object and also a 2-pt perspective drawing of the object. I choose a lint roller for the assignment as it was different from the usual household objects that can be easily found, and although it seems like a very simple object, I’ve come to find that it was intricate in design. I took awhile to resize the images into photoshop and editing them from there, but I was happy with the work I produced. I have learnt to see products in a more sophisticated manner and now have a deeper understanding on how products are designed.

After finishing with the research portion of Yishun, I have found that I did enjoy

taking photos of the architecture. However, the photos around Yishun about

HDBs and HDB motifs did not really interest me. I had initially pitched to Shirley

that I wanted to do something along the lines of a industrial park mama shop

that had personal value to me. However, after revising my plan and thinking it

through carefully, I wanted to do something different from what has been done,

sort of.

 

When we started on LOCALE, we were given a look at zines done by seniors

previously. One thing I noticed was that almost nobody did photo shoots /

included people in their zine. They were solely focused on elements presented

in their area of research. I was certainly excited about this as I would be doing

something more ‘original’ in that sense. On the contrary, I would have trouble

finding materials to reference. Whatever was the case, I do like a bit of challenge.

I was inspired to do this zine by this image I found on pinterest. It had a very

simple street wear element which I liked.

As a start, I decided that these were the things I had to complete.

  1. Plan and execute a photo shoot in Yishun.
  2. Have them edited.
  3. Layout of zine.
  4. Illustrate quirky elements of Yishun with the chosen images.
  5. Colour correction.

Photo shoot

I have never done a photo shoot before, so I went on youtube and watched a

bunch of videos on what to prepare/plan and execute on the day itself. I pulled

in two friends (Lisa and Shawn) to help with the shoot. I had also asked three

of my friends(Jia Hui, Jessical and Praveen) to model. Sifting through the

photos that I took from my research, I settled on a location at BLK348B. This

location took me by surprise as I cycled through the Yishun neighbourhood

with a dslr on hand. I really liked the clean look it presented; contrasted to the

old neighbourhood it is surrounded by.

I didn’t really focus too much on this location until I reviewed my photographs

and concept. To do more research on the location, I went on googlemaps to

find more photos.

After reviewing the location, I asked my models to bring clothing that were

mustard yellow and turquoise to fit with the location, and red for contrast.

I looked up some photos on pinterest to reference the look/vibe/poses I wanted

for them.

Shooting took about 3 hours and we managed to finish it in a day (30th March)

These are some of the photos taken. Some are behind the scenes.

Layout + Editing

I spent the longest time editing and settling on the layout. With over 600 raw shots,

I was rather indecisive and unsure of what photos to use for my final zine. I had to

change them from time to time. However, I really enjoyed this process as I began

to understand what I wanted out from this zine. After choosing the photos, I then

had to decide on how I would place my photos to make them interesting.

At this point, I started placing my images into my desired layout, which I have

gained inspiration from these current layouts.

Cover page:

Zine spread layouts:

Layouts I tried

Cover Page

I roughly stuck to this cover as I thought it looked good.

I did mask some parts of the Fashion word and put in

the Yishun text into the cover page. I had plenty of text

all over the cover page but I decided to remove them in

the end because the clutter was unnecessary and there

wasn’t much text that I wanted to include. I did include a

‘March Edition’ at the bottom to contextualize the zine.

Page 2 and 3

I decided to scale down the photo as I didn’t want the photo to eat up the entire

page. This way, I was able to design more onto the zine and not simply rely on

illustrations.

Page 6 and 7

Initial idea for my pages. The entire spread kind of felt abit block-ish and

uncomfortable. I rearranged the photos later on to form a nice ascending gra-

dient from left to right.

 

Some masking and editing I done:

Patterns and shapes

In my final zine, you can see that I have certain elements with lowered opacity

and shapes that interact with one another. I decided to do a

polka dot pattern/motif on my page 4 to draw the reader’s attention. At one point

I felt slightly too ambitious since I am using three programmes concurrently

(Photoshop, Indesign and Illustrator).

Masking and placement

After the shoot I researched on some weird happenings that have occurred in

Yishun. These would help incorporate the unique Yishun element in my zine.

Note: I did not reference everything 1:1, I had made my own creative changes.

Some of these happenings were:

Man brings cow into lift

Cat murders

Man murders wife

Giant moths and caterpillars

Slashing incident

Illustration

Shirley encouraged me to use Illustrator for the drawings. As I am usually

more inclined to using Photoshop for drawings, I struggled to get started

on illustrator. However, I did manage to get myself to sit down and watch

tutorials on illustrator. I thought, since I had to use it in the future anyways,

I should learn on my own as well. I was happy with my progress and I followed

Shirley’s advice; to draw Yishun-quirky elements onto the existing images

to create interest. Some of them were drawn on photoshop to give a more raw

feel to the images. These are some of the drafts:

I took a photo for reference to draw for the scary looking hands ->

 

I decided not to do illustrations for my cover page to hold the suspense for the

readers, as to not expose my zine elements for my viewers.

I used Photoshop to create a map for Blk 348B location. This was how it looked

in the process.

 

Colour correction

Original colours used.

Colours I chose in the end (after consultation with Shirley) as the initial

colours were very saturated and kiddish.

Fonts used:

I had to spend time to find the fonts that were suitable for my zine. From what

I have researched, I could tell that ‘street wear’ fonts were pretty basic, which

made sense, because they followed that of street signs or metro signs. That,

essentially, makes it street-ish as it borrows elements that are true to its form.

I tried out several fonts, namely:

Conclusion:

I was generally pleased with the pace and results of this project. As I had to

sketch out what had to be done beforehand, I was able to give myself ample

time to segment each step so that I can submit on time. There were a lot of

work to be done, and I knew that it wouldn’t be possible to churn out a zine

in a short amount of time. I took my time with every step, changing bits and

pieces and asked my friends on how to improve it. Shirley’s week by week

consultation kept me up to speed and made sure I was able to produce

something to consult and change on a weekly basis.

I felt that the photo shoot was the hardest/most stressful one to plan for as I

was constantly worried that the shots did not turn out the way they should

(or according to my mood board) and it rained for a bit which really threw me

off as I wasn’t sure when it’d stop. Overall, I am glad to be learning something

new with every step and this project forced me to go out of my comfort zone

to experiment and develop my own style. I am immensely relieved that I

abandoned my previous idea of industrialized mama shop to a streetwear

zine.

 

References:

https://www.pinterest.com/cheahruihong/yishun-inspo/

https://hypebeast.com/

Why Yishun is the most terrifying place to live in Singapore

For research process of Yishun,

check out: https://oss.adm.ntu.edu.sg/rcheah002/locale-presentation-yishun/

Thank you for reading!