4D II: Final (Sheng-si)


Installation experience

Process / Behind-the-scenes


  • Reflections
  • Role allocation (artist statement, music, research paper & misc)
  • Reflection on 4D Foundation
  • Group’s proposal



This final project was purposeful in many ways. It served as a self-reminder to better manage our time and to not neglect certain things in life. Especially stuff like spending quality time with our family and friends. These are some things we might overlook from our stay-in-campus-till-3am schedule.


As for myself, I was thankful to put both work and family together as I was filming with my little niece for the childhood scenes. Despite not using these footages in the final, I’ve learnt that POV shots take a fair bit of planning especially the character is as agile as a child. There must be an optimum distance between the camera and the character while both are moving in order for the movement to look natural.

Filming with kids is on another level as they can’t be directed like normal actors. They get really distracted when a huge DSLR is placed in front of them at a POV angle and this disrupts the flow. What could’ve been done: If we had the resources, perhaps a GoPro could’ve been attached to their heads or change the character to someone with small hands for a better result.

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6 members team

In addition to that, by having a larger group, more effort had to be put in to have everyone on the same page.  From settling on an installation idea that everyone agrees to getting everyone present for meetings and setups, the larger number made it more challenging. (Furthermore, we’re quite an ADHD bunch) However, we’ve forged more team rapport through this, which is an essential skill set needed when we venture out into the working world next time.

selfie 2



Role allocation

As the saying goes, too many hands spoil the broth. Having a bigger team won’t mean anything if not used to your advantage. Therefore, we split the work according to our strengths.

Artist statement

I worked on the group’s artist statement by compiling everyone else’s write-ups, picked out the key points we wish to retain and followed by constructing the statement according to Ruyi’s handout.

Artist Statement


Helped to shortlist the music that accompanies the footages and learnt that keywords are really important. The sound we play in our head might not match the types of keywords for the ideal music. There’s no best way to do this but to try different variations of it

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Research paper & miscellaneous 

Along with Jo, I did the paperwork and write-ups, which includes the research paper. I also helped to advise on the final cuts as well as helping in the logistics work.

Future of the project

I personally see the potential for this installation to go large scale and for public viewing. Perhaps it could be in ADM library’s cinema or somewhere around north spine and hopefully published in Nanyang Chronicles. Baby steps 🙂  If it goes well, we hope to see it in exhibitions around Singapore or even part of an arts festival. The topic itself is relatable to students or practically anyone living in a fast-paced society. Quite a few students were drawn to Sheng-si during the set up and I truly hope more audience will be able to view it. Caught some of the pictures here.

huizhong huizhong leon

We even caught a ghost on cam too

Reflection on 4D Foundation

All in all, I really enjoyed 4D as a whole and it feels bittersweet for it to end. Currently I’m working on some plans to continue on some 4D projects to be further developed during this holiday. From camera angles to sound effects to useful theories like appropriation, I felt that this is a module that i’ve truly learnt and I’m able to apply these for my future works.

Group Proposal


Programme Purpose/Objective

The main purpose of this installation is to allow participants the chance to take a step back and 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.

Screen 1

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.

Screen 2

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.

Screen 3

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.



She didn’t have to die this way.



But at least she was doing what she loved



But what does that amount to?



Have YOU lived a fulfilling life?



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.


Logistics / Budget


Filming Location Things we borrowed Things we bought
Foundation drawing room 1 Projector Black and white cloth
Critical Room 1-14 Bamboo sticks Fake candles
Gladys House/Room & Living Room Black cloth Batteries
Hall 15 2x Speaker Bell
NTU’s playground 3x Laptop Fresh flowers
Presbyterian High School 1x Long mirror Secondary School textbook
Foundation 2D Art Room Fish tank Black Garbage Bag
Starbucks Tables and Chairs Food colouring
NTU North Spine open area Ladder  
Foundation 3D Room    
Product Design Spraying Corner    


  • Booking of rooms and necessary equipments
    • Location used:
      • Foundation drawing room 1
      • Critical Room 1-14
      • Gladys House/Room & Living Room
      • Hall 15 Room
      • Hall 15 Smoking corner/ Corridor
      • NTU’s playground
      • Presbyterian High School
      • Foundation 2D Art Room
      • Starbucks
      • NTU North Spine open area
      • Foundation 3D Room
      • Product Design Spraying Corner


  • Equipments:
    • 2 projectors (School)
    • 2 loud speakers (Ziyu)
    • 3 laptops (Jo, Darren, Gladys)
    • VGA adapter (Ziyu)
    • Black and white cloth (Bought)
    • Bamboo sticks (SC room)
    • Long mirror (Foundation Drawing Room)
    • Twine strings (Bought)
    • Red Strings (Alfred)
    • Candles / Fake candles (Bought)
    • Batteries (Bought)
    • Classic Candle Holder (Jo’s House)
    • Bell (Bought)
    • Fish tank (Loan from friend)
    • Plastic bowl (Gladys)
    • Water suction tube (Alfred)
    • Mounting board (Ziyu)
    • Cardboard boxes (Song Yu)
    • Tables/Chairs (School)
    • Black garbage bags (Bought)
    • Fresh & dried flowers (Bought & Ziyu)
    • Food colouring (Bought)
    • Acrylic paint / Chinese black ink (School)
    • Ladder (School’s cleaner)
    • Masking/ clear/ black tape (Bought)
    • School uniform/ textbook (Jo Inng / bought)
    • Classic Alarm Clock (Hall 4)
    • Hospital segregation cloth (School)
    • Hospital Pillow/ Blanket (School)
    • Phone with family picture (Gladys)
    • Art File/Art Friend plastic bag (Gladys)
    • Easel with drawing (Foundation Drawing Room)
    • Stationaries / Foolscap paper (Gladys)
    • Toyota Car (Gladys Bumper Car)
    • Cooked food w/ utensils (Gladys House)
    • Post-it Note (Gladys)
    • Warm Lighting Kit (Gladys)
    • Bata Shoe (Zoey)
    • DSLR 600D / 18-250mm Macro-Zoom Lens (Gladys/Darren)
    • Tripod (Darren)
    • Cigarette and lighter (Heng Tong)
    • Black spray and artifact (3D Room)
    • Foam board and cutter (3D Room)



  • Logistic breakdown (list of items we actually need)
    • What can be borrowed (and from where/who?)
      • Art Board and other art related stationery from Foundation Room
      • Ladder from Cleaner Aunty
      • 3D room Foam cutter and other 3D related stuff (Spray Can/Foam/Cotton Bud etc)


  • What can be provided by school?
    • 3 Projectors
    • 1 Loud speaker
    • Tables and chairs


  • What was bought? (Where)
    • Black and white cloth (China town) $39.20
    • Fake candles (Daiso) $6
    • Bell (Daiso) $2
    • Fresh flowers (Market) $2
    • Batteries (Giant at Canteen 2) $2
    • Twine Strings (NTUC) $1
    • Secondary School Textbook (Popular) $9.90
    • Food Colouring (NTUC) $3.60
    • Black garbage bag (NTUC) $5.65
    • Masking/ clear/ black tape (NTUC) $7.40

Total: $78.75


Artist Statement – 生死


Sheng-si生死is an immersive video installation aimed at the everyday individual.


Playing with both literal and abstract representations projected on three screens


surrounding the audience, this exhibit seeks to invoke thoughts on the bigger picture


in life. Drawing reference from the fake funeral trend in South Korea, it ultimately


aims for people to diverge into deep thought and contemplate on their purpose in life.


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 future 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.










































Final project: Reflection


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The object we have chosen, the Vajrayana and prajnaparimita needed a tactful approach as we are dealing with the often disparate topics of religion and sex. In order to communicate our ideas on esotericism, we had to first go into deep research and understand our topic clearly in order to execute the right content to our audience and in clarity.

Also, I’ve learnt that it was good experiment before executing on our actual project. We did so by showing our course mates images of the chosen object and we came to realize that the yab-yum is indeed widely misinterpreted with their reactions. When asked for their interpretation of the object, words such as ‘sex’, ‘overly-attached girlfriend’ and ‘ blasphemy’ were collated from a verbal survey.

With our world of over-stimulated sexual imagery and media, to witness union in peace and stillness can be an instant paradox to such a conditioned mind.

We felt that the responses were a concern and decided to focus on bringing attention to esoteric art for our visual response and challenge ourselves to educate fellow arts students regarding this paradox.

As I brainstormed further, it dawned upon me that on one hand, the nature of the yab-yum’s suggestive form captures attention, while at the same time, our concern was to bring Esoteric Buddhist art to attention. A eureka moment struck when I thought of incorporating the two ideas together.

Our final execution consisted of a moving graphics poster shown on the wall by a projector. The animated yab-yum has visually striking colours that aims to draw people’s attention towards it, on top of the attention grabbing yab-yum icon. Audience will find flaps on the projected image that contains an explanation of esoteric art.

Thought process was put into the final image’s design for it to not look too sexualized just for the sake of drawing attention and at the same time having strong aesthetics to catch the eye. Applying what has been taught for colour theory and design principles, complimentary colours were used to create a slight dissonance yet attraction towards the yab-yum.

I’ve learnt to take things not too literally and ask myself questions before I go into conclusions about an artwork or anything. I’ll end here with a quote to always ask yourself: Are you a thinker or a believer?


Artist statement (Yab-yum) – second draft

Artist statement


This artwork aims to make known a form of Esoteric Buddhism also known as Tantric/Vajrayana Buddhism. The yab-yum bronze icons of Tantric Buddhism often strike the layman as hedonistic celebrations of eroticism but are in fact meditational devices a Tantric worshipper uses. In this project titled The Sex Mudra Paradox, we tackle a paradoxical theme of religion & sex.

Due to the influence of sexual stereotypes and sexually suggestive content portrayed in mass media today, viewers of these objects may misinterpret the work and overlook the religious aspect of such artwork. This was also a reason that the Vajradhara and Prajnaparamita at the Asian Civilizations Museum particularly caught our attention with its non-conventional posture of a Buddha and a deity.

We feel the need to educate non-practitioners of the religion of its actual meaning as the imagery is often misunderstood and sexualized. The key meaning behind the union of a male and female in this yab-yum position aims to convey non-duality. However, when taken too literally, it conveys the exact opposite. The distortion of meaning has made it important to search for ways to represent this idea more accurately and less misleadingly.

We have designed a motion graphics poster  be projected along the common walkway of our school. Flaps are placed over the censored parts of the image, which contains a description slip to explain what they see. The visually striking image of the yab-yum seeks to attract students to take a closer look and interact with these flaps. They are also invited to take pictures and post on social media with the hashtag #itstotallynotsex

Through this sort of larger scale projection and interactivity, it ultimately aims to capture as many viewers’ attention, interact with the flaps and fix the misinterpretation of non-tantra practitioners.

295 words

Work Allocation

First draft: Val

First draft edit: Tiffany

Second draft: Val

Artist Statement – 生死

Life & death 生死  is an immersive video installation that compiles personal footages of the journey of life. Playing with both literal and abstract representations projected on three screens surrounding the audience, this exhibit seeks to invoke thoughts on the bigger picture in life. With reference to Fake funerals in South Korea, it ultimately aims for people to diverge into deep thought and contemplate on their purpose in life




#itstotallynotsex – The Sex Mudra Paradox

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Vajradhara and Prajnaparamita Nepal/ Tibet, 14th or 15th century Gilded copper alloy

Key things to note about the object

  • Vajradhara is a form of the historical Buddha found in Esoteric Buddhism
  • Prajnaparamita: the Perfection of (Transcendent) Wisdom; Union represents attainment of knowledge
  • Yabyum posture: tantric sexual embrace (tantra)

What we see is an object from Asian Civilisation’s Museum. Let’s bring our attention to the posture itself. Despite being known as the sexual union, the yab-yum position is not about sex.

Hmm..so what is this Yab-yum all about?

Yab-Yum is the symbol of divine union. It is the posture in which man and women are united between Heaven and Earth: a classic meditation posture

But when taken too literally, its meaning is misunderstood and translated entirely opposite.

Ha, gotcha sick minds.

But pardon yourselves, when we saw the object at ACM, our reactions were epic:

Ruotong: I thought both are homosexual or something, no offense

Val: *rolling on floor laughing* while wondering if this is a legit museum item or someone just did something blasphemous

Tiff: Holy **** <- well, literally.

Why we chose it

This definitely stood out among the rest with the reaction and attention of other museum goers that walked past it. Also, everyone else was choosing Yakshi and we weren’t really inspired by the pieces of ceramics. We knew we needed something that could capture the attention of audience for the purpose of educating them. (not making use of a glib sexual visual *cough* *yakshi*)


Short-term goal: Let our audiences know more about Tantric Buddhism and learn to view things in different point of view.

Long-term goal: Make the society more open to different form of arts/culture/point of views.

Essentially, to educate the audience on esotericism in art and perhaps religion, since both are interdependent.

And finally, The Claim

From the above, we gathered that A yab-yum icon is misleading in many ways due to its anthropomorphic form, hence the idea of it is sexualized. 

Revised claim

After more thought process, I’ll argue that the Yab-yum is actually about gender and not sex.

Why so?

  • Yab-yum literally translates to “father-mother” in Tibetan.
  • In Indian Tantra it is about the masculine as a passive meditator with the feminine as a dancing shakti in his lap… pure awareness meeting pure energy.
  • And more points to be added in the artist statement

So what’re the mediums?


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We are most likely going with the motion poster, where it will be projected on the walls somewhere around level 2 of ADM.

There will be physical flaps of black paper which invites people to open them; description of the poses will written to enlighten the audience

Social Media Movement

Also, we aim for beautiful visuals for the projection so students will take photos in front of the projection and create their artsy Instagram shot, coupled with the hashtag #itstotallynotsex to start the ball rolling on educating the public about esoteric buddhism.


Anderson, Sam. Watching People Watching People Watching. New York: Times Magazine, 25 November 2011.

Niyogi, Puspa. Buddhist Divinities. New Delhi: Munshiram Manoharlal Publishers, 2001.

Shaw, Miranda Eberle. Buddhist Goddesses of India. Princeton: Princeton University Press, 2006

Shaw, Miranda. Passionate enlightenment: Women in tantric Buddhism. Princeton University Press, 1995.

Davidson, Ronald M. Tibetan renaissance: Tantric Buddhism in the rebirth of Tibetan culture. Columbia University Press, 2005.

Special Thanks

For all the great fun this sem G7! You guys were a hilarious and fun group that made me excited for art history tutorials on Thursdays! And thanks Sujatha for the tea parties and samosas! Appreciate the thought! See everyone during the critique next week!


2D Final: ZINE (Process & final)

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Narcissist me…not

This Zine is a compilation of my previous work from this semester in the form of a catalogue guide. I took a step back and glanced at my works individually and looked for something incommon. I thought that each of them actually suits the idea of an event. Hence the title 6 EVENTS FOR THE SUMMER. It is satirical and narcissistic in a sense that everything is about Val, Val Lay, Lay Val, Val & Lay and Valerie Lay

For example..

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The 1975 at Laneway Festival with opening act Val Lay

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Val & Lay gig at Timbre (get the Jack & Rai reference? hurhur)

page 1


A gallery assistant walks past "The Parakeet and the Mermaid 1952" by Henri Matisse at The Cut-Outs exhibition at the Tate Modern, London. PRESS ASSOCIATION Photo. Picture date: Monday April 14, 2014. The exhibition brings together around 120 works, many seen together for the first time. See PA story ARTS Matisse. Photo credit should read: Justin Tallis/PA Wire

Lay Val @ Art Gallery featuring her life-sized works

Page 2

Screen Shot 2016-04-07 at 10.38.02 PMQun dian’s outlet launch pop art party

Page 3

I’ve also taken this opportunity to include some works I didn’t use for my final

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And of course simplifying the composition and changing the orientation from portrait to landscape to suit the layoutScreen Shot 2016-04-07 at 10.38.34 PMValerie Lay’s collaboration with Jack Daniels’ Liquor Launch

E x p l o r a t i o n

Art Direction & Concept
  • Fashion lookbooks
  • Sleek and clean look
  • Geometric shapes
  • Triangles


reference 2

21117085-Abstract-Geometric-Black-White-Triangle-Pattern-Background-Cover-Layout-Magazine-Brochure-Poster-Web-Stock-Vector e5483ee1ec955715872b2dd675295063 geometry-design-inspiration-29


From the references, I had a clear idea of the overall look I wanted and cover page of my zine. I wasn’t too sure of the fold at this point and started with the basic format.

Draft one PIC

Initially, I pictured a standard format, coupled with a french stitch binding. But meh, so conventional

Draft two pic

Continued working on it and cleaned up the sides too look less rectangular-ish which inspired me to go with a non-conventional format/bind for its whole look.

And when you’re stuck, you turn to pinterest.com. Can I hear an amen?

Process #2 – Binding

As I was exploring more on zine binding methods, the not-so-typical ones caught my eye. That’s when I knew I wanted something out of the norm

The last image made me recall an interesting fold I came across during some arts event I attended. I managed to find a good demo reference after countless tries with keywords for my searches!


Challenges with this fold – A Tricky Format

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Due to its folds and diagonal format, it was important to do a mockup to ensure that its pages are in the right placement. I made a mini mockup to facilitate my digital process on photoshop. The angle of this print is also in 45deg and triangular hence making editing slightly tougher

What helped:

  • Additional lines as guides
  • Well organized layers according to pages

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Text Layout

References: Behance.net

For editorial work, there’re no particular reference artists but certain styles I adopted from various fashion look books and magazines

  • Triangular funnel-shaped text
  • Thin lines as dividers
    Text layout reference

10 awesome fashion magazines layouts - touchey design blog - design ideas and inspiration
Text reference 2

Testing out different text layouts

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What I discovered: The length of text plays a huge part to form a triangular shaped text box hence I had to cut down on words. I had to focus more on its alignment aesthetics more than the vocabulary and meaning itself

Test Prints


Type of paper plays a huge part in this Zine thing! 

Well, it’s obvious yet I can’t emphasize it enough. We livin’ da hard life with no raining moneh but its the kind of money you have to spend!

I tested on the following:

Matte paper 190gsm

Matte 250gsm

Art Paper 157gsm

And I’m glad I did. Here’s the verdict:

IMG_2536 Matte paper 250gsm – too thick! too many creases, uglyfying my work

IMG_2537Art Paper 157gsm – a little too thin, making it flimsy. Forms creases too. Nay.


Matte paper 190gsm – not too flimsy nor too stiff, doesn’t cause too much reflection too. Naise, i’m sold.


Other than the typical ‘i’ve learnt a lot and enjoyed this project’, I’d like to specifically mention that its good to start early, plan well, browse more, be open to new styles. Also, dealing with so many layers on photoshop, I’ve learnt to be more organized. I’ve been a really jiapalang person and I thought that needed to change. And I’m glad it actually started with school assignments! All in all, 2D as a whole has helped me to explore styles and directions i’ve never attempted and helped me manage my time well.

Guys, no such thing as overnighters if we plan ahead an pace well.

Really looking forward to printing the final tomorrow and seeing everyone  and their hard works at the last critique!