'MAKE A MARK'—The Design of Protest and How You can Get Involved by samardiff

Make a Mark

MAKE A MARK

Make a Mark

MAKE A MARK

THE DESIGN OF PROTEST AND HOW YOU CAN GET INVOLVED

Make a Mark

Make a Mark presents some distinct examples of the design and creativity of protest throughout history. The exhibition highlights how design has been used as a tool to help demand change, to show solidarity and support, to give identity and to allow activists, occupiers and campaigners to come togther and express feelings in a practical and visual way. Make a Mark hopes to inspire you to get involved and get creative.

Make a Mark

“The overall purpose of

WHY PEOPLE PROTEST A protest is an event or action where people gather with others to publicly express their opinions about something that is happening in society. There are a variety of potential goals for a protest: influence public opinion, draw attention to and share information about a perceived injustice, gain a wide audience for the cause, push public policy or legislation forward, learn more about an issue, connect with others who feel passionate about the issue, speak one’s truth and bear witness. Protests can also provide inspiration and a sense of being part of a larger movement. The overall purpose of protests is to demand change. Protests can take the form of marches, sit-ins, boycotts, and include speeches, music, chanting, performance art, poetry, using symbols, holding signs and confronting people, assembling near symbols and in places of significance to the cause (e.g., a monument) or occupying a specific building or space. Protests are among the many strategies people use to engage in activism and organizing, with the goal of enacting change. Other ways to engage in activism include advocacy for legislation, public awareness campaigns, raising funds, gaining support through social media, among

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others. Will all this accomplish something? The answer is, yes, of course protests work, but usually not in the way and timeframe that many people think. Protests sometimes look like failures in the short term, but much of the power of protests is in their long-term effects, on both the protesters themselves and the rest of society.As protests have erupted across the globe over the last ten years, so has the need for design and innovation to help craft a new visual language for activists, occupiers and campaigners. Make a Mark show examples of the design and visual language of protest from the early work of the Atelier Populaire in France and also some contemporary examples. In each case the form and design has been adopted by thousands of people to represent solidarity and communicate discontent. While technology has given people the tools to access, share and mass produce protest material, this exhibition seeks to show how the more practical and hands on approach in the streets has also flourished by empowering individuals, and inspiring the masses.

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f protests is to

demand change.”

Above Student uprising in Paris, May 1968. Photo by Keystone-France/Gamma-Keystone via Getty Images.

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CON TENTS

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PROCLAIM IT WITH A POSTER

NOTE IT WITH A POST-IT

SAY IT WITH A SIGN

SUPPORT IT WITH A SYMBOL

pg 1

STATE IT WITH A SUPERGRAPHIC

pg 30

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PROCLAIM IT WITH A POSTER PARIS

MAY 1968

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ATELIER POPULAIRE The 1960s was a time of social, political and cultural change in France and across the world. A new generation of politicised youth had begun to emerge, which stemmed from a growing disaffection with capitalist society and the conservative rule of Charles de Gaulle. In early May 1968, what had begun as a student protest at the University of Sorbonne in Paris, culminated in one of the largest general strikes France had ever experienced, with almost 10,000,000 workers taking action against de Gaulle’s government. The Atelier Populaire were a group of art students who then occupied the École des Beaux-Arts to produce posters in support of the striking workers. They too were young and fueled by the revolt along with other factors such as the lack of funding for contemporary and experimental art practice in France and the overall negative effect of de Gaullism on culture. Art was only looked upon with a capitalist and consumerist eye and so the art collective seized the opportunity to challenge authorities with their purposeful posters and create an impression. distraction of colour. Certainly, the first poster they printed titled “Usines, Universités, Union” (Fig.2.) which was done to show the support

between workers and students embodies all the elements of this straightforward technique. With both bold block Univers typeface U’s and contrasting cursive blackboard script , this rough and stark typographic print does exactly what it says on the tin. The strong use of type hierarchy also helps serve the purpose of an immediate impact, logo style piece. Type as image was another characteristic and evident in the “Oui Usines Ocupees’ ‘ poster (Fig.3.). Of course a role of posters is to be eye-catching and despite the quick pace of production and obvious little care to clean-edged prints, they achieve this here along with many other posters. In my understanding, it often may have been worth coming up with clever compositions such as this in the idea stage. Good designs don’t go unnoticed and perhaps would have carried more impact when pasted to the streets as a powerful protest work.

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Above Atelier Populaire, Paris, May 1968. Photograph: Philippe Vermès

Above

“Usines, Universités, Union” (Factories, Universities, Union) 1968 Lithographic poster

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THE SILKSCREEN 1

Scholars have described the use of the silkscreen at the Atelier Populaire during May 1968 as an anomaly, because the technique was little used by artists and was not taught at the École des beaux-arts’’. In fact it was only introduced when a former art school student Guy Rougement, then an abstract painter and sculptor returned from an inspired trip to New York and met with Paris-Arts apprentice Éric Seydoux. (Considine) refers to Seydoux’s account of1how it began “ ‘With Guy’s materials, that night we printed the first poster in front of a transfixed audience and at great speed’ Compared with lithography or offset printing, the silkscreen was rudimentary, fast and industrious.” The group rallied together anyone willing, regardless of their artistic training, to contribute to the collective production of posters. In using the process of silk screen printing, transferring a stenciled design through a silk mesh with a squeegee and ink, they designed bold, immediate graphics often incorporating the weaponized language and belligerent war cries of those confronting police on the streets. In the article La

ILKSCREE

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er, Observ Design e ed by h h t s i f l o b ue pu point al of Contin s the a deni Lutte o make “both ey als g l n buttal l i e a e r T b l ng Anna playfu printi d n der n a e e s r e cy” un ogi silksc fficien echnol sed “e r list t a e a e i i r l c c e e n t p i A s he m’s egard nly, t italis this r Certai to cap int in tion”. o a p osters z p i r n i f a e o th s mech ousand proved h t e r g i n a aki Popul d in m d cceede mpt an and su c, pro ether olisti . g h y o a t s d i g h r n t pe comi view, the g and In my up of ginnin rd start tic be s e ackboa i h n t u t n the bl e i s n oppor u i a c d e e r h on o t m r m r f o i o c is m ign for a laire in des ant to r Popu r napk ere me Atelie a pape w f s o o r e k t s ac o b p tion t c , e n e h u l T f e sty .) he sol (Fig.1 t . h d s t n r i a e w post test orward reen of pro aightf silksc ssage be str . The the me s r e e t k n a r I c i is. ng wo commun eve th striki rd o achi t for (Richa tool t y r suppor r t o c t e s f i H Atelie per e e s h e i t h c t n f o Co was method the sign A e e , D h l t a c c i s e uivo Graph iscuss e uneq 184) d single es wer Hollis messag s in a e e m h i T t : e e m r o i s ite. A a h l , w u t p n d Po ge an te was ur black g y in whi n l i l n t a a n i og nt pri e a sl n the t esse s i u r b e y v l , e t r r c o ire colou ice, t ated d ed dev origin repeat image, k c a l b from a

3 silksc reen p rocess prepar ed in w negati here the s the si cr ve. Th mplici e stud een stenci ty in the l was ents e medium of the gra xpl phic m for mo eans.. oited dulati nor in the .. Nei on of messag or int ther to e was o the t distra ne into ph otogra here room Certai ction p n o h ly, th f colo ic gre titled e first ur. ys, “Usine poster which s was do , Universi they p tés, U ne to rinted worker ni show t s he sup on” (Fig.2 of thi and studen .) port b ts emb s stra etween o i d both b g ies al old bl htforward l t h e techni ock Un elemen contra qu ivers ts sting typefa e. With cu rough ce U’s and st rsive blac kboard and ark ty what i pograp script t hi , this type h says on th e tin. c print do ierarc es exa hy als The st of an ctly o help r im s serv ong use of Type a mediate im e the pact, s imag purpos lo e was eviden e anothe go style p t iece. r (Fig.3 in the “Ou i Usin characteri .). Of s e t s i be eye course c and O -c a role cupees’ ‘ poster produc atching an of pos d desp tion a t e r s is t it nd obv edged o ious l e the quic pr k pace itt many o ints, they of ther p achiev le care to osters e this cleanoften . In may ha here a m ve bee y unde l compos n w rstand ong with itions in such a orth comin g up w g, it s this ith in the idea s clever tage.

s hap o per ted t d n s ed a a g p d e y ed hen k. man tic w wor with n nno pact e u t t s of go e im te ng ’t r pro e alo , it r g e don ed mo ful r n v e i e s e. r gn ri we his h tand h cl stag t esi e car a po s t rs i d a p e w e a e d d d v s v n erh ed Goo ld ha ts a chie my u ng up the i p e a i nd st In wou stre hey com is in ed a n pa rk. t s h ic he t wo rs. worth t t the nts, w e thi o t s as unn mpact otes ieve y pri er po been uch o r h m g i p c s In ’t re ul hey a oth have ons th i don ed mo werf t s. n wor r o , may posit gns e s i p s t e a r t s e i r o a n o m b s ca co d de uch n’t g as d pri er p ave s e v s h h s o re l n d o Goo ld ha reet edge y ot may o m ti ns t d fu n wou the s lean h ma ften mposi desig rrie ower c p o ca it it o c d a w o to e to e er . Go av s as ng ers board , lev e d h car e alo ding t niv n h c stag woul tree ck U black print r a t e t i s h blo ers ve p w ic dea aps he und ing u he i perh to t bold cursi raph g t m o d d h g o p n o n e c ty bot stin s i in. als act, d a ast thi otice en p With ntra stark the t rchy imp h o a n w e . c d n r t k r n o un act hie edia othe es wor s and gh a ays imp test f ype imm as an Usin U’ s rou it s t n o e e o f pr efac f a age w “Oui thi what se o rol he o p , a u y t se s im ty ipt he rse ctl trong urpo a n t u ite p scr s exa s pe ent i f co desp ttle e y e h T O t d d Th li doe ve ce. evi .3.). g an ous ser e pie and g in obvi i h s F c p l c ( cat and hel o sty isti ter r s yen log racte ‘ po be e ctio u cha pees’ s to prod i of Ocu ters ce pos ck pa qui 4

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‘The Struggle Continues’ .

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‘Support for the occupied factories for the victory of the people’.

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‘A Youth that worries abou the future too often’ .

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‘I participate, you participate, he we participate, you participate, they profit .

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‘It’s he who shits the bed’ .

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‘Be young and shut up’ .

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‘The vote doesn’t change anything, the struggle continues’ .

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HOW TO PROCLAIM IT WITH A POSTER SILKSCREEN PRINTING WORKSHOP

‘No to beauacracy’ .

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1 2 3 4 5 6

‘The vote doesn’t change anything, the struggle continues’ .

TAKE A PIECE OF NEWSPRINT CHOOSE A DESIGN BY THE ATELIER POPULAIRE PICK A BOLD COLOR INK PLACE THE INK ON THE TOP OF THE SILKSCREEN USING THE SQUEEGEE PULL THE INK DOWN PUT IN ON THE WALL USING MASKING TAPE!

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‘No to beauacracy’ .

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SUPPORT IT WITH A SYMBOL PARIS

NOVEMBER 2015

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Top Parisians mourn on the streets following the attacks.

Bottom Peace for Parsis symbol by Jean Jullien.

PEACE FOR PARIS On the night of the 13th of November 2015, the city of Paris was the target of a series of coordinated terrorist attacks. At least 130 people were killed that night with over 350 wounded. The news spread quickly around the world with news outlets and indiviuals expressing their sympathy and the call formpeace began. One frwnch graphic artist from paris Jean Jullien, heard the news on the radio while he was away. He made a quick ink sketch on paper combining the Eiffel Tower, a symbol of paris with the peace sign which became a universal symbol of hope and ignite worldwide protest for peace. The illustration is powerful in its simplicity: A peace symbol with the Eiffel tower, rendered in bold, black strokes against a white background. The design was born out of his instintive emotional, response as a visual communicator who was just trying to express his sadness after the events. Julllien posted the image to instagram with the caption ‘Peace for Paris’ and it spread across the platform. The world embraced it almost immediately. And now, not quite 24 hours later, people are printing it on T-shirts, on posters, and on flags, bearing it proudly in a global show of solidarity with the City of Light. It has become a way of saying, We are with you, France, and we are not afraid.It became the symbol of the peace movement and the design communicated a sense of hope during a sad and dark time for Paris.

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JEAN JULLIEN

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How much time transpired between when you heard about the attacks and when you set about creating the image? A minute, maybe. It was done on my lap, on a very loose sketchbook, with a brush and ink. Did you sit down with this image in mind? No, to be honest. I didn’t do any sketches. It was a reaction. The first thing that came to me was the idea of peace, that we needed peace. I was trying to look for a symbol of Paris, and obviously the Eiffel Tower was the first thing that sprang to my mind. I just connected both of them. You know, there wasn’t much work process behind that. It was more an instinctive, human reaction than an illustrator’s reaction. Your work tends to take the form of visual commentary, focusing on everything from day-to-day life to current events. What did you want this image to convey? It’s a message of peace and solidarity. I didn’t do it to benefit from it in any way. It was my way of communicating with the people I know and showing that I was thinking about everyone

affected in Paris. The fact that people shared it and used it, well, in a way that’s all for the better. It’s an image for everyone. It’s a communication tool for people to express solidarity and peace and that’s what it’s being used for, so I’m glad that it’s been useful. Your 2014 show Allo? was about communication and social behavior in the digital age. The reach and impact of “Peace for Paris” has been amplified by platforms like Facebook and Instagram. How do you feel about that? As of today, and in the light of the event, I can’t really have any positive thoughts. I’m sort of almost embarrassed to be getting that much exposure as a result of such a tragic event. However, it really shows that this is how we communicate not just as humans, but as a society. It can break down barriers. Sometimes it is difficult to shed light on what is true or not, but I think people have an instinctive sense of how to use these forms of communication. In cases like this, the things that need to spread, spread. And this seems to have been a very positive use of this form of hyper-communication.

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“In my opinion, the strongest images are the ones that don’t require any deep background in culture or art history to decipher. It needs to be instinctive.”

I understand being almost ashamed of the traction this has gotten and the reach that it’s had. But at the same time, is it not the role of artists to give us symbols of strength and solidarity in times like this? I agree. I just ... I stopped looking at the comments quite quickly, but I did glimpse one or two saying, “There is a time for pen to touch paper, and this was too quick” and, “Oh, once again, someone is trying to benefit from a tragedy, how opportunistic.” I mean, I would say 99 percent of the comments were extremely positive, and I’m thankful, but ... You do realize 99 percent positive is far above average for most Internet comment sections? Absolutely, and for that I was quite glad. The Internet being what it is, haters gonna hate. And if you start trying to justify yourself and answer your criticisms it’s just endless. I think you’re entirely right, there is a place for art, or communication, or graphic art in times like these, and it should be useful. I’m a strong believer in the practical role that images play in communicating helpful or positive thoughts. In selling ideas as much as selling products.

I think that’s part of what we do. Much of your work tends to hinge on visual puns and visual creativity. The simple combination of these two iconic symbols is incredibly powerful. What advantages do you think illustration has over the written word in conveying information at times like this? Images are universal. Let me put it this way: In my opinion, the strongest images are the ones that don’t require any deep background in culture or art history to decipher. It needs to be instinctive. It needs to be something that people from different backgrounds can recognize automatically, and it’s this notion of identification more than reading. You understand before you decipher the image, and I think with words, sometimes, the barrier is higher. Images existed before words, and they do convey a sense of universality. It’s obviously too early to tell, but based on the reach and impact it’s had already, I’d wager that “Peace for Paris” is well on its way to becoming one of the early 21st Century’s most iconic images. I know that makes you uncomfortable to think about, given the violence and hatred that precipitated it. But that’s

exactly what makes this symbol so potent: It’s a sign of peace, support, and optimism that stands in direct opposition to a vile act of terror. That’s exactly it. You’re right. It came from a place of hope. A positive place. And if that’s how it goes down, and how it is remembered, I’m fine with that. I know you have to run, but is there anything else you’d like to say about the piece or how it’s been received? Some people have asked me how I felt about it being celebrated, and I just think it’s not about that. It’s about people sharing it. It’s like giving birth to something and watching it develop a life of its own. You just have to learn to let go and see what it becomes. It’s quite a strange feeling. I’m just pleased that it’s found a use for everyone, regardless of their nationality or where they are in the world, in Paris or not.

“Meet Jean Jullien, The Artist Behind The ‘Peace for Paris’ Symbol” Interview with Jean Jullien by Robbie Gonzalez— Wired 14 Nov 2015

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HOW TO SUPPORT IT WITH A SYMBOL SYMBOL AND MARK-MAKING WORKSHOP

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1 USE THE MATERIALS AVAILABLE SUCH AS INK PENS, POTATO PRINTS, AND STENCILS. 2 RE-CREATE JEAN JULLIENS SYMBOL YOURSELF. OR 1 USE OUR SPECIAL COUNTRY X LANDMARK MATRIX AND TRY TO COME UP WITH YOUR OWN PEACE SYMBOL DESIGN.

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NOTE IT WITH A POST-IT HONG KONG

2014, 2019-PRESENT

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Top Lennon Wall in Prague, Czechoslovakia

Bottom Lennon Wall in Admiralty,Hong Kong

LENNON WALLS The original Lennon Wall was first created in Prague, Czechoslovakia, following the murder of John Lennon. The name was then used for the walls of post-it notes that emerged in 2014 when tens of thousands occupied major highways for over two months to demand universal sufferage in Hong Kong. They were was filled with art as well as lyrics from the Beatles. One Hong-Konger says ‘Even though there have been so many protests, the government doesnt seem to be listening to us.So, we have to use other ways, like lennon walls, to express our views.” The difference between the Lennon wall in Prague and the ones in Hong Kong is that protestrs have chosen to use the less permanent form of sticky notes over spray paint. They dont want to deface any public property “It will be hard to clear up if you smear all over the walls. This is more of a conisderate aproach. Even if you tear them down it wont leave a trace.Of course the risk of such a temporary foprm of protest is that anyone can tear them down including those who disagree with the protesters. However, there is a general understanding and respect for eachothers right to do so. And so, In the spirit of the Beatles these walls have become spots where people encourage and offer support to eachother and express their love for the city.

The Post-It note is more reflective of the word, the voice, a multiplicity of voices — more painstaking and social in the old fashioned way. At the same time, these notes also reflect how a political movement builds iteratively, forms layers and organically expands.Professor Colette Gaiter, an art professor at the University of Delaware specializing in protest art, says: “This is the most welldesigned protest in recent memory….” “Unlike the U.S. Occupy movement three years ago — which featured rough hand lettered signs on torn cardboard representing the grass-roots nature of the protests and economic status of the protesters — the Hong Kong protests have attracted professional designers….There is an elevated aesthetic sensibility even in the ubiquitous handwritten signs and Post-it notes.”

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“The Post-It note is more reflective of the word, the voice, a multiplicity of voices — more painstaking and social in the old fashioned way. At the same time, these notes also reflect how a political movement builds iteratively, forms layers and organically expands.”

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“Every morning when I walk past the sticky notes they bring a smile to my face and make me feel proud to be a Hong Konger” — Venus Wu

“Whenever I see a lennon Wall and read the words of encouragement written there, I feel i’m not alone. I feel we’re all going through this together and I feel encouraged.” — Melody Lin

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L E N N O N W E N N O N W A N O N W A L L S L E N N O N W N N O N W A L N N O N W A L L E N N O N L E N N O N W A W E N N O N W A L E N N O N W E N N O N W A L N N O N W A L L L E N N O N L E N N O N W E N N O N W A L E N N O N W L E N N O N L E N N O N W A L E N N O N N N O N W A L E N N O N L E N N O N L E N N O N W A W A L E N N O N L E N N O N W W E N N O N W A L E N N O N W A L E N N O N W L E N N O N W A L E N N O N L E N N O N W W L E N N O N W E N N O N W A L L E N N O N W A L E N N O N L E N N O N E N N O N W A L L E N N O N W A L E N N O N L E N N O N N O N W A L L S L E N N O N W L E N N O N L E N N O N W L E N N O N W L E N N O N L E N N O N L E N N O N L E N N O L E N N

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A L L S L L S A L L S L S L S W A L L S L L S L L S A L L S L S S W A L L S A L L S L L S A L L S W A L L S A L L S W A L L S L S L L S W A L L S A L L S A L L S A L L S L L S A L L S A L L S L L S A L L S W A L L S A L L S L S A L L S W A L L S W A L L S L S A L L S W A L L S W A L L S A L L S W A L L S W A L L S W A L L S W A L L S W A L L S N W A L L S N W A L L S O N W A L L S

to mainland China

against plans to allow extradition

Hong Kong’s protests started in June

BACKGROUND

and endanger dissidents.

undermine judicial independence

Critics feared this could

inquiry into police actions.

demand full democracy and an

but demonstrations continue and now

The bill was withdrawn in September

country, two systems” arrangement,it

returned to China. Under the “one

by Britain as a colony but then

Until 1997, Hong Kong was ruled

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DEMOCRACY UND

to be withdrawn completely.

rations continued, calling for it

could be revived, so demonst

rotesters feared the bill

throwing petrol bombs.

protesters attacking officers and

with police firing live bullets and

have become increasingly violent,

Clashes between police and activists

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DER THREAT

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“We’d rather die in the fight than slowly su

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uffocate to death after we lose the fight.”

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Top Blank Sticky Notes on a wall in Hong Kong

Bottom Protesters hold up blank pieces on paper symbolising white oppression.

DESIGN MEANS ADAPTING Since the imposition of the security law – which bans secessionist, subversive and terrorist activities, as well as collusion with foreign forces, with penalties of up to life imprisonment – anti-government protesters in Hong Kong, and those supporting the movement, have adapted their methods to try to make their voices heard without violating the legislation.Before the law took effect on June 30, protesters often held up colourful posters plastered with slogans that ranged from condemning the Chinese government to calling for Hong Kong’s independence. The use of blank paper or sticky notes to protest is a changing form of resistance, according to Ma Ngok, an associate professor of politics at the Chinese University of Hong Kong. “They put up blank notes so that even if the government wants to prosecute them, there is nothing that can be used against them,” he said. Protesters in Hong Kong have also come up with alternative slogans to circumvent the ban on “Liberate Hong Kong, revolution of our times.”Some users quote the initials of the romanisation of the eight Chinese characters in the banned slogan – “GFHG, SDGM.” Others have changed the words entirely to terms that sound similar but mean very different things.One alternative slogan now reads “Patronise Hong Kong, Times

Square,” a reference to a popular shopping mall in the city. A popular protest anthem, “Glory to Hong Kong,” has had some of its lyrics changed, with protesters replacing the words with numbers in Cantonese that sound approximately like the lyrics. The circumventing of bans on slogans is reminiscent of how mainland Chinese internet users come up with creative ways and similar-sounding words to talk about sensitive issues without triggering censorship under the “Great Firewall of China,” where censors delete posts containing sensitive terms and make such keywords unsearchable on online platforms.“There is a long history of censorship where we know that people will find ways to circumvent the system, no matter how you regulate,” said Fu King-wa, associate professor at the University of Hong Kong’s journalism school. “Sometimes, censorship can backfire, triggering more people to discuss an issue because they think that if it is censored, then it must be something important,” he said

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Top A illusionistic sign that reads “Liberate Hong Kong, Revolution of our times” from afar.

Bottom Cafes used Sticky notes to show they were pro-democracy.

Since then, they have become creative in obscuring their messages. The government had just banned the slogan “Liberate Hong Kong, revolution of our times.”, saying it had separatist connotations and so ran a foul of the new security law’s prohibition of secessionist acts.Shortly after, riot police entered the mall, shooing away onlookers. They detained the man, telling him the slogan was banned.But when officers looked at the poster up close, no words could be made out. It merely had circular shapes against a contrasting background. They snapped a few photographs of the poster and let him go. Other posters are designed to circumvent bans on slogans. The government has not yet made clear if such forms of expression are illegal. The law has had a chilling effect on “yellow shops” that support the protest movement. Many have removed protest artwork and sticky notes bearing words of encouragement from customers, out of fear that they could land them in trouble with the authorities. Some shop owners, like Tan Wong, have instead put up blank sticky notes to show solidarity with the movement. “We are doing this right now because [the shop] is private property. We are trying to tell Hong Kong people that this is the only thing that we ‘yellow shops’ can do,” said Wong, who

runs Kok Kok Chicken, a Korean . fried chicken store.” “If we do not persist, we would no longer be able to deliver our message to others,” he said.Yu Yee Cafe, a Hong Kong-style diner that serves fast food, has covered its windows with blank sticky notes and even displays an origami figure of Winnie the Pooh, a playful taunt of Chinese President Xi Jinping. “I wonder if there’s still rule of law if sticking a [blank] piece of paper on the wall is illegal,” said Eddie Tsui, one of the diner’s customers. “It’s just using a different way to express our demands. If you don’t allow us to protest that way, we’ll find another way.”

“It’s just using a different way to express our demands. If you don’t allow us to protest that way, we’ll find another way.”

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“BE

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WATER” “Be water” was once known only among fans of the kung fu superstar Bruce Lee. Now the saying has been adopted by protesters to keep the police on their toes, as they demand accountability and democracy. For protesters, “be water” means being anonymous, spontaneous, flexible and also evasive – just like the flow of water.

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Professor Colette Gaiter, an art professor at the University of Delaware specializing in protest art, says:“This is the most well-designed protest in recent memory….” “Unlike the U.S. Occupy movement three years ago — which featured rough hand lettered signs on torn cardboard representing the grass-roots nature of the protests and economic status of the protesters — the Hong Kong protests have attracted professional designers….There is an elevated aesthetic sensibility even in the ubiquitous handwritten signs and Post-it notes.”

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HOW TO NOTE IT WITH A POST IT

Hong Kong’s Lennon Walls have also been transformed into a flag that represents the anti-government resistance. Artist @ badiucao was inspired by the multicoloured squares of the sticky notes that have covered surfaces throughout the city. As they are regularly torn down by government supporters, the flag is a way to preserve the Lennon Walls’ message.

POST-IT NOTE MOTIVATION WALL

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Professor Colette Gaiter, an art professor at the University of Delaware specializing in protest art, says:“This is the most well-designed protest in recent memory….” “Unlike the U.S. Occupy movement three years ago — which featured rough hand lettered signs on torn cardboard 1 GRAB A PEN. representing the grass-roots nature of the 2 WRITE A MESSAGE OF ENCOURGAMENT. protests and economic status of the protesters 3 PEEL OFF THE POST IT. — the Hong Kong protests have attracted 4 STICK IT UP ON OUR VERY OWN LENNON WALL! professional designers….There is an elevated aesthetic sensibility even in the ubiquitous handwritten signs and Post-it notes.”

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STATE IT WITH A SUPERGRAPHIC USA

2020

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BLACK LIVES MATTER Black Lives Matter (BLM) is an international social movement, formed in the United States in 2013 and dedicated to fighting racism and anti-Black violence, especially in the form of police brutality. The name Black Lives Matter signals condemnation of the unjust killings of Black people by police and the demand that society value the lives and humanity of Black people as much as it values the lives and humanity of white people. BLM activists have held large and influential protests in cities across the United States as well as internationally. A decentralized grassroots movement, Black Lives Matter is led by activists in local chapters who organize their own campaigns and programs. The movement took off and became an international phemnomenon in 2020 in the aftermath of the police killing of Breonna Taylor on the 13th March 2020 and George Floyd, a Black man in Minneapolis on the 25th May 2020.

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Protesters during a BLM March in New York, May 2020

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Top Volunteers in Washington D.C painting the street mural.

Bottom Aerial view of the mural.

THE STREET AS CANVAS Following the protests, on June 5th Washington DC Mayor, Muriel Bowser commisioned the words “BLACK LIVES MATTER” to be painted in 35-foot-long yellow letters across two blocks directly north of the White House. The mural went viral before it was even completed. Civil rights leader and Georgia representative John Lewis, called it a “powerful work of art.” And Apple updated its satellite imagery of the capital city to include a view of it from space. Since then, cities across the country have followed DC’s lead and painted their own massive murals on municipal property. The phrase “END RASCISM NOW” popped up in bold yellow paint on Sunday morning in Raleigh, on a street next to the Contemporary Art Museum. Without action, the mural is window dressing. But the meaning of a public work of art belongs more to its viewers than to its author. Walking across the painted stretch of Sixteenth Street, one experiences it as something deeper than its role as a photo-friendly symbol would suggest. Aerial and satellite images downplay the mural’s scale, reducing it to a footnote on the White House. On the street, however, it is immersive and overwhelming, the sharp intersecting angles of the

sans-serif letters evoking a massive version of a monochrome Ellsworth Kelly canvas. Standing at street level, a pedestrian never sees the full phrase at once. It’s an abstract—not the same as contentless—installation that you have to experience on foot, as a landscape. Without action, the mural is window dressing. But the meaning of a public work of art belongs more to its viewers than to its author. Walking across the painted stretch of Sixteenth Street, one experiences it as something deeper than its role as a photo-friendly symbol would suggest. Aerial and satellite images downplay the mural’s scale, reducing it to a footnote on the White House. On the street, however, it is immersive and overwhelming, the sharp intersecting angles of the sans-serif letters evoking a massive version of a monochrome Ellsworth Kelly canvas. Standing at street level, a pedestrian never sees the full phrase at once. It’s an abstract—not the same as contentless—installation that you have to experience on foot, as a landscape. and Georgia representative John

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BLACK

Photos taken during the painting of the BLM Street mural in Washington D.C, June 2020

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LIVES

Top Trump Tower, 5th avenue, New York City, July 9, 2020.

Bottom A portion of giant letters spelling out “All black trans queer nonbinary woman disabled imprisoned lives

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Top Lennon Wall in Prague, Czechoslovakia

Bottom Brooklyn borough hall in New York City, June 26, 2020

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Downtown Oakland, California.

Bottom Seattle, Washington, U.S. June 11, 2020.

MATTE

Top

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Top Frederick Douglass Boulevard, Harlem Manhattan borough of New York City, July 7, 2020.

Bottom Lower Manhattan, New York City, July 3, 2020.

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R 66

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“A system cannot fail those it was n

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HOW TO STATE IT WITH A SUPERGRAPHIC

never meant to protect”— W.E.B DuBois

MURAL DESIGN WORKSHOP

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1 TAKE TURNS USING THE DIGITAL PEN AND CANVAS 2 FILL IN THE LETTERS OF BLACK LIVES MATTER 3 USE PATTERNS PROVIDED OR YOUR OWN COLOURFUL DESIGN 4 NOW WALK ALONG THE STREET! “A system cannot fail those it was n

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never meant to protect”— W.E.B DuBois

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SAY IT WITH A SIGN WORLDWIDE

2018-PRESENT

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Thousands of Extinction Rebellion climate emergency protesters march through central London on 22nd February 2020.

EXTINCTION REBELLION Extinction Rebellion is a decentralised, international and politically non-partisan movement using non-violent direct action and civil disobedience to persuade governments to act justly on the Climate and Ecological Emergency. On 31st October 2018, British activists assembled on Parliament Square in London to announce a Declaration of Rebellion against the UK Government. The next few weeks were a whirlwind. Six thousand rebels converged on London to peacefully block five major bridges across the Thames. Trees were planted in the middle of Parliament Square, and hole was dug there to bury a coffin representing our future. Rebels super-glued themselves to the gates of Buckingham Palace as they read a letter to the Queen. Extinction Rebellion was born. The call to rebel swiftly became global, with groups popping up the following week in Europe, the US, and soon after the world over. Leaderless and truly global, each new group makes the movement stronger, bringing in new perspectives, wisdom, expertise, energy and inspiration. Any person or group can organise autonomously and take action in the name and spirit of XR so long as the action fits within XR’s principles and values . In this way, power is decentralised, meaning that there is no need to ask for permission from a central group or authority.The call to rebel swiftly became global, with groups popping up the following week in Europe, the US, and soon after the world over. Leaderless and truly global, each new group makes the movement stronger, bringing in new perspectives, wisdom, expertise, energy and inspiration.

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CREATING A GRAPHIC IDENTITY When designer Clive Russell first met Roger Hallam, one of the founders of Extinction Rebellion, he was blocking traffic on Marylebone Road, protesting poor air quality in London. Hallam mentioned a then-unnamed, decentralised movement, that would make the urgent message of climate crisis unavoidable. “I told him, ‘If we’re going to do this properly, give us more time to get a design,’” Russell says. “And he did.” A little over a year after Hallam and Russell’s conversation, the newly-named Extinction Rebellion was making headlines for shutting down central London, blocking five bridges in the capital. Suddenly, somehow, this collaborative and grassroots movement had captured the sense of urgency that had previously been missing from discussion of our rapidly warming earth. And everywhere these protests went, its visual language went too: a bright, closely defined palette of colours, a punchy font and woodcut illustrations of skulls and nature made by collaborator Miles Flynn. In 2019, these design elements have become an ever-more familiar sight in major cities and beyond, on posters and flyers. With further protests occupying crucial spots in central London, the group have made headlines for their unabashed and direct warnings about the climate crisis, which refuse to

sugarcoat the level of threat that the planet is under. “Its consistency makes it very effective,” explained Lucienne Roberts, whose studio GraphicDesign& was behind the recent exhibition on graphics and politics at the Design Museum. “Often with political movements, they can err on the side of being too passive – XR are not passive.” XR’s forceful visual identity and design profile for their website, banners, stamps, flags and posters is elemental to their influence and has enabled them to consolidate their motivations as a global movement. The group first adopted the open-source Extinction Symbol in 2018, created by eastLondon street artist ESP in 2011. This minimal symbol became a unifying expression for their main concern: time is running out. In the digital age, XR constructively harnessed the power of open-source design to develop a coherent and commanding visual identity. The impact of the Extinction Symbol accompanied by a clear set of design principles have ensured that their actions are immediately recognisable and make an impression on bystanders. “Design has been key to Extinction Rebellion’s demands” says Corinna Garner, Senior Curator of Design and Digital at the V&A Museum, “Extinction Rebellion have galvanised public concern for the planet, and their design approach

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Left XR symbol: The circle represents earth, while the stylised hourglass signifies that time’s running out. The XR symbol as a woodblock print in an exhibit in the V&A.

stands in relation to earlier protest movements such as the Suffragettes who encouraged the wearing of purple, green and white to visually communicate their cause.” A vibrant colour palette, bleak motifs of skeletons and skulls, as well as more positive symbols of the natural world such as animals, insects and trees make up the background of posters and leaflets, in a slightly faded, letterpress-printed style. The organisation’s name is set in all-capitals, in a sansserif typeface called FUCXED CAPS based on Futura Condensed that was originally hand-printed using old, wood type blocks, paying homage to letterpress again. The logotype, as well as the sand-timer motif, are set in bold black over the top of the light, colourful graphics, contrasting starkly. By borrowing from traditional printing techniques, the graphics aim to have a “slight retro feel”, says Russell, while looking “completely different from other eco or punk movements”. The contrast aims to help the materials look both “angry but peaceful”, he says, symbolising campaigners’ rage but also their peaceful methods of protest.

“Design has been key to Extinction Rebellion’s demands” —Corinna Garner, Senior Curator of Design and Digital at the V&A Museum. “Its consistency makes it very effective,” — Lucienne Roberts (GraphicDesign&)

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ACCESIBILITY & INCLU “We drew some inspiration from the Paris, 1968 riot graphics,” says Russell. “I also love Eduardo Paolozzi and drew from his colour palettes. The type looks deliberately a bit wonky, to give it that 1950s, analogue feel. “One of the most important things was that this movement needed to feel really inclusive. A lot of eco movements feel a bit hippy and exclusive, and not particularly urban. It was important to have a consistent look, so we could be an umbrella movement that everyone could come underneath.” The art group has opted for an eclectic range of symbols, with some direct and some abstract. The skulls and human bones are “pretty easy metaphors” around human extinction, says Russell, while hexagon shapes are used to represent Extinction Rebellion’s demand for a citizens’ assembly to oversee Government progress, with the six-sided shape representing many different people coming together. “I’m really humbled by the weird things people have done with our artwork,” Russell says. “That’s the wonderful thing about open-sourcing. We’ve told people to use the three core elements of our graphics – the logo, font and colour palette. Between these, the aesthetic holds together.” Through providing an ample amount of pre-made graphics to choose from, as well as giving

people the chance to make their own posters using Extinction Rebellion’s graphic language, Russell says that the main purpose is in making the movement inclusive and accessible – as well as causing the public to realise they also have collective responsibility.“I hope people see the graphics and feel like they can join in,” he says. “We’re not a revolution, we’re not looking to overthrow Government – we need people to join us.

“The main purpose is in making the movement inclusive and accessible – as well as causing the public to realise they also have collective responsibility.”

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USIVITY

Above Some pages from the The XR Design Programme

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A selection of woodcut illustrations of skulls and nature made by collaborator Miles Flynn.

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The woodcut prints can be used by protesters to make custom signs and posters. .

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HOW TO SAY IT WITH A SIGN EXTINCTION REBELLION SIGN MAKING WORKSHOP

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1 USE THE XR DESIGN MATRIX TO PICK A SLOGAN, COLOUR AND ILLUSTRATION. 2 ARRANGE YOUR OWN COMPOSITION . 3 PRESS THE BUTTON ON OUR XR SUPERCOMPUTER. 4 JOIN THE CROWDS AND TAKE A PICTURE WITH YOUR SIGN IN FRONT OF OUR XR PHOTO WALL.

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END MATTER

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Hollis, Richard. Graphic Design A Concise History. 1994 and 2001 Thames & Hudson Ltd. Considine, Liam. Screen Politics: Pop Art and the Atelier Populaire Brennan, Holly. Design and Dissidence: The Legacy of the Atelier Populaire and the Visual Lexicon of Revolution. 2012 Hollis, Richard. Graphic Design A Concise History. 1994 and 2001 Thames & Hudson Ltd. Considine, Liam. Screen Politics: Pop Art and the Atelier Populaire Brennan, Holly. Design and Dissidence: The Legacy of the Atelier Populaire and the Visual Lexicon of Revolution. 2012 Hollis, Richard. Graphic Design A Concise History. 1994 and 2001 Thames & Hudson Ltd. Considine, Liam. Screen Politics: Pop Art and the Atelier Populaire Brennan, Holly. Design and Dissidence: The Legacy of the Atelier Populaire and the Visual Lexicon of Revolution. 2012 Hollis, Richard. Graphic Design A Concise History. 1994 and 2001 Thames & Hudson Ltd.

Brennan, Holly. Design and Dissidence: The Legacy of the Atelier Populaire and the Visual Lexicon of Revolution. 2012 Hollis, Richard. Graphic Design A Concise History. 1994 and 2001 Thames & Hudson Ltd. Considine, Liam. Screen Politics: Pop Art and the Atelier Populaire Brennan, Holly. Design and Dissidence: The Legacy of the Atelier Populaire and the Visual Lexicon of Revolution. 2012 Hollis, Richard. Graphic Design A Concise History. 1994 and 2001 Thames & Hudson Ltd. Considine, Liam. Screen Politics: Pop Art and the Atelier Populaire

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