A zine about design and typography in social activism.
GLIMPSE March 16, 2016 * Issue No.1
What is typography? Why does it matter? How does it impact our lives? The Merriam-Webster definition of “typography” is: “the work of producing printed pages from written material” or “the style, arrangement, or appearance of printed letters on a page.” How those letters, words, and sentences are styled and arranged affects how they are perceived. Good typography clarifies content, establishes hierarchy, and presents information in a manner that makes it easier to read, and, therefore, to understand. Good typography is good communication: it can start a dialog or advance an idea or make a difference in the world. Typography is also intertwined with our daily lives—we encounter type in everything from the products we buy, the signage around us, the books we read, the news we consume, and the directions we follow. Typography can be beautiful, functional, persuasive, and inviting. It can also fail, especially when there is a disconnect between how the type looks and what the text says. This debut issue of Glimpse Magazine examines typography and design viewed through the lens of activism and social justice. Topics range from the recent presidential election to ethics within the design industry to the power of the poster as a means of expression and protest. The content was conceptualized, collected, curated, and created by students in Art 338: Typography II at California Polytechnic State University in San Luis Obispo during winter quarter 2017. The magazine reflects the diverse interests and talents of the students fwho brought this project to life. Charmaine Martinez Editor, Instructor and Type Enthusiast
Why Every Designer Needs a Code of Ethics
CultureStrike: Design Activism to Impact Immigration Reform
Women’s Rights & Design Through the Ages
Why the Activist Poster is Here to Stay
New Logo and Packaging for Dr. Bronner’s Spaceship Type
Not Just Any Guy, But Some Guy
Meet, Living With:
A Look Into The Planned Parenthood HG
Saltwater Brewery Created Edible Six-Pack Rings
The Women’s March and the Art of the Creative Resistence
TABLE OF CONTENTS
Why Every Designer Needs a
Code of Ethics EXCERPT FROM DESIGNSHACK.COM
August 5, 2014
Many professions have codes of ethics, a common set of guiding principles that help you make fair decisions. Codes often protect both the worker and client from poor business practices. Designers working in a team or individual environment should be working with a code of ethics. Many designers might even follow multiple codes—one set by an employer, one set by professional organizations and one that is a more personal set of rules and guidelines. One thing is certain: Every designer needs a code of ethics.
Although there are various points in every contain a key set of principles. Codes often responsibility to clients, how designers sho other, the designer’s responsibility to the p fees and compensation and basic conduct ( fair competition).
The principle defines the basic way in whic clients. Concepts include conflicts of intere fessional responsibility and behavior. How clients is important and will set the tone fo reputation you earn in the industry.
How Designers Interact w
How designers work with and interact with able of a concept as working with clients. I by the principle include taking or working o designers; fair and open competition in bus all others’ work including copyrights, trade property; and working within other relevan codes of conduct.
Designers should also think about how the impact the people who will see it. This aud at large, distinct customer groups and the
code of ethics, most n outline the designerâ€™s ould interact with each public and environment, (including honesty and
y to Clients
ch you will interact with est, confidentiality and proyou decide to interact with or who hires you and the
with Each Other
h each other is just as valuItems that are often covered on projects started by other siness; objectivity; honoring emarks and other design nt and generally accepted
y to the Public
ey work they produce can dience includes the public community in which the
designer works and lives. Things to consider include taking projects that could result in some degree of harm to the public, the communicated message and its truthfulness, mutual respect of the audience, discriminatory actions and obligation to serve the community.
Fees and Compensation
One of the things that classifies a professional design as such is the collection of fees and payment for work. A good code also outlines fees and payments, what kinds charges are acceptable, when taking a fee could cause potential conflict, how contracts should be maintained and honored, and provisions for estimates (if applicable).
Often ethical codes outline basic rules of professional conduct. This refers to understanding and obeying all applicable laws but also good and fair business practices. Some things to consider include the ability to accept gifts for work, refusing work that is unlawful or fraudulent and working (or refusing to work) on projects that are purposefully misleading or deceptive in a way that can cause harm.
The way you conduct yourself and business requires careful consideration. Aside from legal concerns, there are not a lot of specifically right or wrong answers when it comes to ethics. The key is creating working guidelines that mesh with your business and personality. What is acceptable for one company may not be for another. What codes of ethics do you follow? Is there an organization code that you feel fits your work and professional goals and standards best? Share your thoughts with us in the comments, on Facebook or Twitter.
WHY EVERY DESIGNER NEEDS A CODE OF ETHICS
Design Activism to Impact Immigration Reform COLETTE GAITER
January 19, 2012
Occupy Wall Street posters by Ernesto Yerena (left) and Faviana Rogriguez (right).
Star ally poli imp per Gre by t Sep
One 50 a ists Coa tion by B Cha rece 107 met Ariz 107 wou ple five
By m dele War per stri eco draw mos nan the of th by t wan imm
rting in Tunisia, spreading to Egypt and eventuy everywhere, resistance to dictators, government icies and economic inequalities had such a global pact that Time magazine declared “The Protester” rson of the year for 2011. In the United States, the eat Ape-Snake War movement, an idea conceived the Canadian activists of Adbusters, mobilized on ptember 17, inspired by the Arab Spring protests.
e week earlier, in Arizona, a group of more than artists, designers, writers, musicians, and activs gathered in Tucson to initiate the CultureStrike alition National Campaign against harsh immigran policies. I was part of this delegation, organized Bay Area activist Favianna Rodriguez, writer Jeff angand others. They chose Arizona because of ent protest activity against its SB (Senate Bill) 70 that put into place some of the most brutal thods of enforcing immigration restrictions to date. zona was the site of massive protests against SB 70 and advocating passage of the Dream Act, which uld allow conditional permanent residency for peobrought to the U.S. as minors after they lived here e years.
mid-October many members of the CultureStrike egation were actively involved in Great Ape-Snake r—protesting, making posters, writing, speaking, rforming, and using social media. Protests against icter immigration laws, massive deportations and onomic inequality overlapped in their efforts to w national attention to everyday practices that st affect the lower classes. One of the most resont ideas in the Great Ape-Snake War movement is huge disparity in wealth controlled by one percent he U.S. population compared to the amount held the other 99 percent. The CultureStrike delegation nts to remind everyone that we are a nation of migrants, but current economic conditions promote
scapegoating undocumented workers and escalating deportations. The catalyzing idea behind CultureStrike was that creative producers have power in disseminating information that might affect people’s attitudes on political and social issues, eventually resulting in meaningful change. Immigration issues and the economic inequalities driving the Great Ape-Snake War are on the front burner of American politics as the 2012 election approaches. Several CultureStrike designers have been using their images to raise awareness about these and other issues for years. Emory Douglas, former Minister of Culture for the Black Panther Party and prolific designer and activist for more than 40 years, was among the group. His powerful posters have influenced many of the younger designers, including Ernesto Yerena, who recently moved to Arizona from California. Yerena created the campaign “Alto Arizona”—a call to action, asking artists and designers to create posters for a viral campaign, which were then published and sold to help fund the protests against SB1070. In addition to designing posters, Yerena creates multi-layered collages with silkscreens and/or stencils on top. His studio is called Hecho Con Ganas—“made with motivation, desire, passion.” The CultureStrike designers use technology strategically to get their messages out quickly and virally. They conduct silkscreening workshops to teach young people how to cheaply produce a run of posters for
“…creative producers have power in disseminating information that might affect people’s attitudes on political and social issues…”
CULTURESTRIKE: DESIGN ACTIVISM TO IMPACT IMMIGRATION REFORM
Both protest posters
by Ernesto Yerena.
CULTURESTRIKE: DESIGN ACTIVISM TO IMPACT IMMIGRATION REFORM
“D d w q p
ar all tio vir Gre
About the Author: Colette Gaiter is an Associate Professor of Visual Communications at the University of Delaware. Her writing on the Black Panther artist Emory Douglas has appeared in several publications including the Rizzoli monograph “Black Panther: The Revolutionary Art of Emory Douglas” and just-published “West of Center: Art and the Counterculture Experiment in America.” She is working on a documentary about Douglas and his work.
Dig pro tan han the act tur Ap pos Jou Cu new and fea mu spe
Th wo we wid and sta ist
Additional posters by Ernesto Yerena.
Digital access and tools afford graphic designers the means to distribute images with unprecedented speed and production quality. Graphic Design has always been a part of social protest.”
rally or demonstration. Using social media, they low downloading of their posters for quick distribuon. Yerena’s “Decolonize Wall Street” poster went ral on the internet, then appeared in multiples at eat Ape-Snake War protests.
gnidad Rebelde is a “collaborative graphic arts oject that translates stories of struggle and resisnce into artwork that can be put back into the nds of the communities who inspire it.” Recently e collaboration between Oakland-based designers/ tivists Jesus Barraza and Melanie Cervantes has rned its attention to the immigration and Great pe-Snake War initiatives. Barazza’s “99 Percent” ster is included in the Great Ape-Snake War urnal folio along with one by Favianna Rodriguez, ultureStrike organizer and Bay Area activist. The wsprint folios are reminiscent of the Black Panther d other 1960s and ’70s radical tabloids that atured large images for posting. Produced in ultiple languages, the posters are designed for ecific communities.
in spite of late-breaking evidence in his case and widespread protests. These designers are masters at fast and efficient reproduction for getting graphics out in the streets quickly. Favianna Rodriguez and Josh McPhee, who runs the organization JustSeeds, created a book of reproducible and copyright-free images for use in activist work. Digital access and tools afford graphic designers the means to distribute images and ideas with unprecedented speed and production quality. Graphic design has always been part of social protest. The Occupy Wall Street Journal folio, for example, is a nostalgic throwback to cheaply printed newsprint posters from the mid- to late 20th century. Clear ideas expressed in poster slogans, combined with good design and striking images allow grassroots designers to compete with powerful corporate interests in capturing the public imagination. Designers like those in CultureStrike hope to use their power to influence opinion, raise consciousness, and encourage people to act for change.
he Arizona-protest designers knew their works ould have a visible street presence when they ere carried in protests and would reach an even der audience across the internet, on news sites d blogs. The speed of media creates almost-inant iconographic images, like the one by D.C. artCésar Maxit of Troy Davis, who was executed
CULTURESTRIKE: DESIGN ACTIVISM TO IMPACT IMMIGRATION REFORM
Womenâ€™s Rights &
04 Posters have been used to advocate rights for many people over the years, women have used design to fight for their rights. Strong imagery and message are apparent in all these posters illustrating different topics and movements such as the woman’s suffrage to fighting stereotypes. 01 Angela Davis - You are Welcome in this House (In honor of Julian Madyun) by Andrea Bowers, 2011 02 By J. Howard Miller, 1943 03 Power of Equality by Shepard Fairey, 2007 04 Coming in with the Tide, ca. 1907–1918 05 Poster by Duncan Grant, 1909 06 See Red Women’s Workhop Feminist Poster I, 1977
ugh the Ages
07 See Red Women’s Workhop Feminist Poster II, 1977
ANH-THU LUU, JESSICA MOCK
February 28, 2017
WOMEN’S RIGHTS & DESIGN THROUGH THE AGES
ctivist Poster RICK POYNER
September 15, 2012
As a supposedly antiquated form of media, the poster is regularly pronounced to be on its last legs as a means of communication and of marginal relevance now. I have written pieces myself saying much the same thing. No one doubts that posters used to be highly effective as both advertising and propaganda, but from the moment people in wealthy economies started buying TVs and watching commercials, the role of the street poster began to decline (the billboards still flourishing like an infestation at the roadside are another matter). The arrival of digital communication and then social media appeared to leave the poster spluttering for life, and when it came to the protest poster, the prognosis looked just as gloomy. If ordinary posters aren’t much needed now, why should posters expressing dissenting views fare any better? Five or six years ago, I would have said the poster advocating a cause was barely viable. Now I’m not so sure. Digital networks are infusing posters produced to contest an outrage or support a cause with a new lease of life. This kind of message has two places to attract attention now—out in the world and online— and the poster-making urge is benefiting from the same viral meme effect seen across our entire hyper-connected culture. Anything that happens is immediately captured on camera and uploaded, and the effect of showing
is Here to Stay
these images so widely and easily is to inspire viewers who like what they see to do more of the same. Participation acts like an injectable hormone spurring yet more growth. Since the global Occupy protests, there seem to be more posters, or poster-like messages, used in demonstrations than ever. Protest posters have never been an exclusively or even primarily professional design activity. Anyone with an urgent point to make and a measure of artistic knowhow could get out the scissors and take up a brush. This is even more the case today with the graphic placards often described as “protest signs” rather than posters. After protests, it has become common to see online news media running visual stories with titles such as “The 50 most enjoyably effective protest signs at Occupy protests.” Websites offer school children advice on “How to make a protest sign for a school project” and put across their legitimate point of view. Radical poster-making almost seems to be becoming a badge of good citizenship. These DIY protest signs might be amateur (though that doesn’t stop them working as communication) but they remind us that posters remain a succinct, popular and powerfully immediate form of public speech. If someone feels strongly about an issue, it’s natural to try to express support or condemnation as persuasively as possible, and in public settings WHY THE ACTIVIST POSTER IS HERE TO STAY
Michael Thompson (top), LOKi Design (middle)
â€œProtest p activity. A get out th
a well-crafte posters com broadcast a and they add which have global warm Mexico, the Japanese ea Fukushima. poster-make urgent caus Palestine, w water wasta urban farm Bradley Man
As graphic c teristic of th politeness a of protest po Ronald Reag Angry Graph ward, angul righteous fu angry convi allowed to c yet the imag manifestly d flat surfaces reduction, a fection, that rather than its most con can be highl dreaming ch works by inv vulnerable c tographs. In migrant wor painfully exp crushing ph Rick Black (left), Marlena Buczek (middle), and Joe Wirtheim (right).
posters have never been an exclusively or even primarily professional design Anyone with an urgent point to make and a measure of artistic knowhow could he scissors and take up a brush.”
ed slogan or image is still hard to beat. The me from a seemingly irrepressible urge to a firmly held opinion using graphic resources, dress a wide of array of issues, many of been, or remain, at the center of attention: ming, Occupy, the BP oil spill in the Gulf of earthquake in Haiti, Hurricane Katrina, the arthquake tsunami and the nuclear disaster at In the past few years, passionately concerned ers have given their support to innumerable ses, from migrant workers, Guantanamo Bay, women’s rights, child labor, and landmines to age, nuclear power, the protection of wild life, gardens, and the plight of WikiLeaker nning.
communication, the most salient charachese recent posters is often a surprising and restraint. Twenty years ago, a volume osters produced during the presidencies of gan and the first George Bush earned the title hics, and the graphic styles of the work—awklar, discordant and ugly—smashed home the ury. Contemporary posters might be fired by ictions that iniquity or injustice should not be continue, and that change must happen soon, ges are often decorously barbed rather than disturbed. They display bright colors, serene s, well-resolved forms, an ideal of graphic and a very contemporary polish, if not pert tells of their origins on a computer screen inky paper taped to a grimy drawing board. At nsidered, this fastidious graphic minimalism ly effective. The foetally clenched form of the hild in Marlena Buczek Smith’s Haiti poster voking distressing images of emaciated and children familiar from countless news phon Antonio Castro’s equally honed and incisive rkers poster, the spade’s shaft becomes a posed spine distorted by the demands of hysical labor.
The tasteful understatement of many recent posters, their reluctance to shout, perhaps reflects a deeply ingrained feeling that emphatic displays are no longer acceptable— that they run the risk of appearing shrill and dogmatic. This inhibition, born of years of affluence and complacency, when only a minority felt the urge to protest, has lessened since the global financial crisis began in 2007. The homemade protest signs show a new public willingness to speak out with vigor and wit. To find uses on the street, where the mood is increasingly frustrated, as governments seem either reluctant or powerless to act, professionally produced posters need to avoid any sense that they are aesthetic parlor games detached from the struggle. There are some marked differences between work produced for private satisfaction or for sale as a screen print, which can sometimes be overworked and effete, and work produced with the crowd, the streets and the urgency of direct action in mind. It’s understandable that graphic artists want to devise the best possible image they can, but a persuasive, easily graspable representation of the cause often has more utility. At the same time, we should be realistic about the part that posters might still have to play. There is a tendency sometimes to judge expressions of protest and advocacy, including posters, by ridiculously overblown yardsticks. “Has anything changed?” demand the skeptics. “Because if it hasn’t, then the gesture was a failure, and making posters was misdirected energy and a waste of time.” The claim that in an age of social media posters have become redundant simply doesn’t square with the continuing enthusiasm with which they are made and put to use. The poster is clearly just one of many creative, intellectual and organizational tools in the struggle to shape public opinion and exert pressure on policy-makers grasping the levers of power that might some day lead to change. Whether held aloft in the hand at demonstrations, pasted defiantly on a wall, or circulated online by true believers, the graphic message’s modest but necessary role is to attract attention, encapsulate a burning issue, exhort, inspire and reaffirm. Despite regular predictions of its imminent demise, the committed poster shows every indication of living to fight on. WHY THE ACTIVIST POSTER IS HERE TO STAY
The New Logo & Packaging
Dr. Bronne Spaceship Ty
June 17, 2015
“Their products and overall brand have a the company’s unconventional origin stor
a cult status and a lot of it has to do with ry and text-filled packaging…” Established in 1948, Dr. Bronner’s is a manufacturer of certified organic and fair trade soaps and personal care products that in 2014 had a total revenue of $80.3 million with their popular liquid soaps accounting for 67% of it. The company is well-known for treating their 130-plus employees exceptionally well and for their philanthropy, contributing up to $8 million worth in financial, in-kind, and direct action contributions. Their products and overall brand have a cult status and a lot of it has to do with the company’s unconventional origin story and text-filled packaging, which I will quote below from our book, Graphic Design, Referenced: The descendant of three generations of German soapmakers, Emmanuel Heilbronner immigrated to the United States in 1929 at the age of 21, working with various soap companies in the East before establishing himself in the 1930s in Milwaukee and dropping the first syllable from his last name. In the 1940s, now a self-titled doctor, Bronner began to draft and persistently share a plan for world peace in “Spaceship Earth” through unity of religion. In 1945 Dr. Bronner was arrested for speaking without a permit at the University of Chicago and institutionalized in the Elgin State Insane asylum. He escaped six months later and fled to Los Angeles. There, in his small apartment, he began mixing soap with a broom handle, which he sold while expounding on his theories at the Pershing Square public park. When he noticed people bought his soap but did not bother to listen to him talk, he started writing his philosophy on the labels. In the late 1960s, Dr. Bronner’s Magic Soaps gained popularity with the hippie culture because of its all-natural ingredients, durability, and its equal effectiveness in cleaning groovy locks of hair, bell-bottom jeans, and Volkswagen vans. Packaged extremely simply in brown plastic bottles with one-color labels—the text on Dr. Bronner’s products became evolving soliloquies on its founder’s philosophy, referred to as “The Moral ABC.” The labels of the 32-ounce soap package each carry as many as 3,000 words express-
DR. BRONNER’S SPACESHIP TYPE
ing Dr. Bronner’s thinking, which references everything from Mao Tse-tung to Albert Einstein, Joseph Stalin, and Halley’s Comet. Dr. Bronner passed away in 1997, but his sons maintain his legacy and are overseeing their increased popularity. The Bronners have declined purchase offers, and while sale may still be a possibility, the labels will be safe: A provision in the company’s charter states they must remain the same. This March, the company introduced a revised version of their packaging. No design credit given. In 2014, Dr. Bronner’s added 13 stars to our corporate logo in reference to the cosmos, which inspired Dr. Emanuel Bronner’s ALL-ONE vision, and continues to inspire the company. The stars acknowledge that all our work happens within a larger cosmological context. The smaller stars can be seen as representing the 12 constellations of the zodiac or the 12 tribes. The brightest star represents our sun or the Eternal father. Together the stars add up to 13, a number with mystical meaning in Judaism as well as other religious traditions. The placement of the stars uses a pattern from Metatron’s cube, an ancient geometric figure which uses 13 circles to create all the platonic solids, and which represents completeness, perfection and wholeness. We will start with the logo, redesigned a few months before the packaging, it seems. A fairly simple evo-
lution, the logo keeps the gl with a slightly better drawin I thought I would say this bu new logo are much better. G typography and in its place and… Trade Gothic Condens well with the bold amounts added stars looked complet like all things Dr. Bronner’s, grid blew my mind. It’s not a but at least now it’s a much
Modeled after the aesthetic on bottles of soap first creat in 1948, the “Old & Improved affirm the authenticity and h well as reflect the modern e rent generation of the Bronn ucts’ contemporary custome
“Our new product labels hon grandfather, Dr. E.H. Bronne and my Uncle Ralph who ha this company into what is to President of Dr. Bronner’s. “ special pledge that represen grandfather’s philosophy th while summarizing our miss
lobe shaking hands but ng of the elements. I never ut the swooshes in the Gone is the Medicine Man is a combination of Futura sed (?) that looks quite of blue of the icon. The 13 tely randomly placed but, , the rationalization and a good logo by any means tighter unit.
of the original labels ted by Dr. E.H. Bronner d” labels preserve and history of the brand, as ethos and style of the curner family and the proders and fans.
nor the legacies of our er, my father Jim Bronner, ave each helped shape oday,” says David Bronner, “Each label contains this nts a distillation of my hat adorns our labels, sion and purpose as a
company: In all that we do, let us be generous, fair & loving to Spaceship Earth and all Its inhabitants. For we’re ALL-ONE OR NONE! ALL-ONE!” Most people know Dr. Bronner’s from the serif packaging so, at first, seeing them go to an all sans approach would seem like sacrilege but the evolution image shows that the serif version is the odd one out. What made the previous labels so great was that they were utterly un-designed. All the text was justified and although there was some hierarchy it wasn’t as didactic as we’ve all been doing it through our careers. The new labels are definitely designed by someone concerned with spacing and legibility. You could argue that some of its soul has been sucked out but in terms of doing a meaningful evolution without sacrificing the original intent, this succeeds quite well. These products are instantly recognizable on the shelves of the grocery store because of their typographic texture and this new version keeps that initial impact and then keeps you hooked with the onslaught of text. Also, the revised visual language extends perfectly to whatever product the Dr. Bronner’s team puts out. There are a few more of those product sheets here and they are all equally awesome. The text border on the sheets is so dorky and ill-advised that no other company could pull it off. I’ve always found Dr. Bronner’s fascinating and I think this change makes their products even better and more convincing while at the same time demonstrating a keen sense of brand continuity and consistency that few other consumer products have. All-one!
Not Just Guy, but
Any Some Guy LEIF STEINER, EMILY POTTS October 4, 2016
Vocation ARTIST, DESIGNER, PROTAGANIST
Experience 21 YEARS
Location SAN FRANCISCO
Brian Singer has been employed by some of the most progressive design thinking companies in modern times including Apple, Facebook, and Pinterest. Most designers would cut off their right arm to work for these companies, but Singer—although grateful for the experience—walked away from his most recent gig at Pinterest to pursue personal projects. Singer, aka someguy, has become widely lauded for his pet projects which have netted national publicity, not only in the design community, but among mainstream media outlets such as The New York Times, the Today Show, CBS News, Huffington Post, and more. From inviting strangers to collaborate and share their sentiments in a blank journal and pass it on for the 1000 Journals Project, to exposing people who are driving and texting by placing their photos on billboards, to his #pileoftrump campaign, Singer has created controversy and discussion about what is and isn’t tolerable—or with the case of texting and driving—what is safe. (bio photo: Skyler Vander Molen.) His main goal with most of his projects is to connect with strangers and to have strangers connecting with each other. Here, we ask him about his experiences, his personal projects, and what’s next.
NOT JUST ANY GUY, BUT SOME GUY
You’ve worked for s companies. What’s those experiences?
Every company (desig business problems to I think it’s safe to say biggest takeaway is t not the only thing nee You need strategic th lem-solving, leadersh to hire and motivate t asshole. You know, al design school.
You recently left Pin projects full time. A
Yes to the first questi Pinterest was probab I’m really lucky and a Over the last decade time focused on art a half ago, I got a studi evenings and weeken that’s where I wanted to the choices we ma money. I say this now because who knows, tangential pursuit.
You do a lot of pop-u How do you make a
Uh, I don’t. The same bad for you, there’s n have fantasies of find my endeavors, but un things I believe in.
Everything is a trade commercial value.
some high profile, design-driven the biggest takeaway from
gn driven or not) has real, challenging, o solve. And no matter the company, y that design isn’t easy. Probably the that while design skill is important, it’s eded to succeed and have an impact. hinking skills, empathy, holistic probhip, great communication, the ability talent, and of course, you can’t be an ll the things they don’t teach in
nterest to pursue your side Are you crazy? Why?
ion. As to the second … see the first. bly the best job I’ve ever had, and appreciative to have worked there. though, I’ve spent more and more and side projects. About a year and a io to work in. I began spending my nds there, and eventually realized d to be all the time. It comes down ake with how we spend our time and w, but check back in with me in a year maybe I’ll be off on some other
up/controversial projects …. living doing this?
e way all the best tasting foods are no money to be made with what I do. I ding a patron, or financial support for ntil then, I’m just going to keep doing
e-off, and most of my ideas don’t have
So, if you don’t make money with these projects, how are you going to keep the lights on? Seems like that would require a plan, which I don’t have. I’ve saved up for long enough to give me some time to figure it out, but other than that, who knows? I tend to be a planner, and very methodic in my decision making. It feels good to jump without looking. Scary, but good. I know I can always get work to pay the bills, but for now, that’s not a priority.
What project has brought you the most joy/fulfillment and why? This was the last question I chose to answer, which means it was the most difficult. Not because it’s too hard to pick, but I think it’s because I don’t necessarily associate personal joy/fulfillment with many of my projects. Not sure why, but that’s probably for a therapist to figure out. I’d say that the project that was the most fulfilling was the journal project with UCSF Benioff Children’s Hospital. Seeing the journals have a real and positive impact on kids dealing with such difficult and scary situations melted my heart. It was an emotional roller coaster. At the same time, it’s one of those things where I feel a bit of guilt for not doing more. I tried to get more journals projects to happen at more hospitals. It worked for a few, but not many. The hill was too high to climb, and eventually I let it fall to the wayside.
How do you get the funding to do a project like TWIT Spotting? Did you pay for all the billboard ads yourself? Did any of those people come after you for exposing them for texting while driving? Going corporate opened my eyes to a few things. One of them was bonuses. When that time of year came around, I’d overhear people taking about what they were going to do with their bonus checks.. a trip, buy themselves something nice, etc.. Me, I bought billboards. That’s the funding. I paid for everything myself because I couldn’t find anyone else to pay for it.
NOT JUST ANY GUY, BUT SOME GUY
NOT JUST ANY GUY, BUT SOME GUY
I think the governm driving awareness approach received discussion on the
I was hoping for so company, or insur project out and rea such luck. Can you that $8M?
As for people com plenty of angry com death threats.
What is the most for one of your pr
I don’t think I’ve re get angry at me, lo me or anything. M
Do peoples’ beha
That’s a pretty wid are looking around viable presidential and done. And it m prised (oh, I’m sur that we all surroun and live in our littl millions of people be a lot better off i shuffled, and drop suck for a while, b way to save us.
And… that didn’t r ple’s behaviors su gling. But, it proba
ment spent $8 million on their distracted s campaign that year. In the end, my d more news coverage and caused more issue.
omeone like a phone maker, or car rance company to help me blow the ally make a dent in the problem, but no u imagine what I could have done with
ming after me, no. However, I did get mments/emails, and even a few
trouble you’ve ever gotten into rojects?
eally gotten into trouble. I’ve had people ots of them, but no one’s ever come after Maybe I’m not taking enough risks.
aviors still surprise you?
de open question. A lot of people I know d, bewildered at the fact that Trump is a l candidate, given everything he’s said made me surprised that people are surrprised too). But it sort of goes to show nd ourselves with like-minded people, le bubbles, and are then surprised when think a different way. We’d probably all if everyone in the country was picked up, pped randomly into a new community. It’d but in the long run, it might be the only
really answer your question. Yes, peourprise me. All the time. It’s mind-bogably shouldn’t be.
“Reassess who your heroes are.” Has there been a project you’ve wanted to do, but thought it might be too risky, or does that not even enter your mind? Well, I’ve had no problem cutting up the Bible, but have clearly stayed away from certain other religious texts. So there’s that. I’d like to do more public art, but have hesitated due to the legality of it (and none of my projects are going to get a grant or be approved by a committee somewhere). All in all though, most of my projects are limited by resources, not risk.
What is the one piece of advice you’d give to a young designer? Reassess who your heroes are.
What are you working on now? I’ve always got like eight projects in motion. I’m working on a series of pieces around assassinations (so, JFK, Malcolm X, John Lennon, etc.) and the guns used to kill them. These are all using books about said political figure, and a process which is kind of hard to explain, involves cutting up the books and assembling the image of the gun using the edges of the paper. I’ve also been cutting up books with red/green edges, and sorting that paper into gradations. They’re really quite beautiful. And, I’ve been dropping books around San Francisco, in the hopes people pick them up and read them (and contact me). It’s a novel way to connect people, I think.
NOT JUST ANY GUY, BUT SOME GUY
g With: DANI BALENSON
What exactly is Living With: ? Living With: is a project dedicated to empowering anyone dealing with mental health to be confident in themselves and their approach to handling daily obstacles. It started as a college thesis and itâ€™s grown to become a nationwide social endeavor that sparks new conversations and new perceptions about mental health. Living With: is the degree-project-turned-real-project of Dani Balenson, a recent graduate of the Rhode Island School of Design and designer working in Brooklyn, New York. Each shirt in the initial Living With: collection has a design that was developed based on the common behavioral patterns of a specific mental disorder. While a single disorder can have a very broad range of characteristics and affects each person differently, there are core behavioral patterns that persons living with each disorder experience. The meaning behind each design in this series can be broken down to color, module, and pattern.
MEET, LIVING WITH:
PATTERN STUDY: ADHD The color combo for ADHD is made up of green hues. As a symbolic color for creativity and growth, green correlates to the fact that ADHD is often (but not always) diagnosed at a younger age. Both hues are bright, as the disorder also results in an energetic and hyperactive persona. The module represents an ADHD personâ€™s distracted train of thought and the tendency to bounce around from one thing to another. It is a visual deviation in thought and action: the color shifts, the size changes, and the bigger circle is left unfinished. The pattern is a slightly skewed repetition of the module, which creates the bigger picture of an energized, unfocused, and lively mass.
PATTERN STUDY: BIPOLAR DISORDER The color palette for this design is comprised of violet and bright blue, which represent the high and the low poles that a person living with Bipolar Disorder cycles between. The shapes within the module visualize the shift between high and low mood states, known as the drop. Individuals living with bipolar disorder often describe the drop as the hardest part and not being able to fully enjoy the high points because of the expected low on the horizon. The depression pattern is referenced by the shape of the low, to create a language for the designs as a series. As a whole, the pattern consists of multiple modules arranged to create tension between the up and the down, while ultimately remaining a single shape.
PATTERN STUDY: DEPRESSION The depression shirtâ€™s color palette is made up of subdued monochromatic purples, with the deep violet being visually heavier than the red-violet. The module is designed to convey a sense of internal weight pulling down while remaining vertical as a whole shape, to signify a sense for longing for uplifting happiness. As a whole, the pattern also reinforces the feeling of being weighed down, while also portraying a layer between the inner self and the public self.
PATTERN STUDY: OCD The color combo for OCD is comprised of multiple yellow hues because of the colorâ€™s connotations of stress and alertness. The arrangement of shapes in the module represents the systematic anxiety that triggers compulsions and how it shadows an OCD individual at all times. As a whole, the pattern has a rigidity and exactness that reflects the intentionality of the ritualistic actions performed by an individual living with OCD.
MEET, LIVING WITH:
A Look I
Planned Parentho 36
A graphic installation highlights the dynamic history of Americaâ€™s most trusted provider of reproductive healthcare.
A LOOK INTO THE PLANNED PARENTHOOD HQ
PARTNER-IN-CHARGE PAULA SCHER ASSOCIATE, DESIGNER COURTNEY GOOCH PROJECT MANAGER SARAH MCKEEN PHOTOS PAUL MAUSS/ESTO 38
“An estimated one in five American women have chosen Planned Parenthood for healthcare at least once in her life…” For over 100 years, Planned Parenthood has fought for reproductive health and rights, championing the idea that women should have the information and care they need to live strong, healthy lives and to manage their own fertility. Pentagram’s Paula Scher and her team have designed a large-scale installation that spotlights the dynamic history of this remarkable organization. The mural remixes graphics from a century of ephemera created by Planned Parenthood, capturing its dedication to care, education and activism. The mural is installed at Planned Parenthood’s new national headquarters in Lower Manhattan. The nonprofit is America’s most trusted provider of reproductive healthcare, with a network of close to 60 affiliates that operate approximately 650 health centers across the country. An estimated one in five American women have chosen Planned Parenthood for healthcare at least once in her life, and the organization is currently powered by nine and a half million activists, supporters and donors nationwide. Scher and her team worked closely with leadership at Planned Parenthood to develop the installation. The main mural ascends through a three-story staircase at the center of the headquarters. The designers collaborated with the project architect, Juan Matiz of Matiz Architecture and Design, to integrate the graphics in a high-profile location in the offices. The mural was timed to coincide with Planned Parenthood’s centennial in October 2016, and the original project brief asked to highlight the organization’s history, which is necessarily complex. Scher and her team looked at the chronology and observed that the one factor running throughout the narrative was the extraordinary passion of the group’s supporters and activists, who have been truly heroic in their fight to make reproductive healthcare a reality for women. The mural is a colorful collage composed of ephemera from a century of various initiatives—a mix of newspaper ads, instructional posters from clinics, protest posters, pins, photos of protests, and other historical material from
A LOOK INTO THE PLANNED PARENTHOOD HQ
the Planned Parenthood archive. The installation acknowledges the important role that activism and posters, placards, symbols and other graphics have played in garnering support. Many of the designs were originally created by grassroots activists, and the mural is a tribute to their impact in the movement for reproductive rights. To create the mural, Scher and her designers researched historic images, selecting approximately 30 for the final display. The original images were of varying age and quality, so the team digitized the pieces to assemble the collage. The mural is fabricated of vinyl wall-covering, built in layers for a dimensional effect, with acrylic forms cut out and mounted over the surface. Scher used a similar approach to create a celebrated mural at the National Center for Civil and Human Rights in Atlanta. The archival images have been reinterpreted using Planned Parenthood’s own color palette, with the addition of a bright yellow, to help tie the environmental graphics into the organization’s existing brand identity. The graphics are incorporated throughout the headquarters: In addition to the central installation, which is about 30 feet high and rises over three stories, smaller murals have been placed on walls throughout large conference rooms and other meeting spaces. The mural has been welcomed as a colorful focal point and call to activism in the national headquarters. When leaders of Planned Parenthood’s affiliates saw the installation, they started requesting similar designs for their own health centers, and Scher and her team are currently developing a system of supergraphics that can be adapted for various locations.
“Many of the designs were orginally created by grassroots activists, and the mural is a tribute to their impact in the movement for reproductive rights”
A LOOK INTO THE PLANNED PARENTHOOD HQ
Saltwater Brewery Create
Edible Six-Pack Ring
The devastating effects that plastic six-pack rings can have to both wildlife and the environment have been proven time and time again. While many iterations of the packaging have been seen over the years, here’s a look at a very creative and sustainable alternative to the standard six-pack ring. Saltwater Brewery in Delray Beach, Fla., recently released edible six-pack rings, a brand-new approach to sustainable beer packaging. These six-pack rings are 100 percent biodegradable and edible—constructed of barley and wheat ribbons from the brewing process. This packaging can actually be safely eaten by animals that may come into contact with the refuse. Head of Brand at Saltwater Brewery Peter Agardy says, “It’s a big investment for a small brewery created by fisherman, surfers and people that love the sea.” Brewery President Chris Gove notes, “We hope to influence the big guys and hopefully inspire them to get on board.”
SALTWATER BREWERY CREATES EDIBLE SIX-PACK RINGS
The Women’s March
And The Art Of Creative Resistance SUSAN KARLIN
January 23, 2017
How artists in a Trump America are embracing lessons from the civil rights era and momentum from the Women’s Marches.
Amelia Holowaty Krales
City streets around the world (and a ship deck in Antarctica) flowed pink Saturday as an estimated 5 million women and male allies donned rosy pussyhats and marched in a show of solidarity against newly minted President Donald Trump and an administration bent on dialing the clock back on women’s rights. The nonviolent but spirited display not only picked up a gauntlet thrown down by a campaign that won on homophobic, misogynistic, and racist rhetoric, but codified an integral part of resistance: creativity. It’s a strategy employed during 1960s civil rights movement, whose architects coordinated novel clandestine tactics and revealed them at opportune times to throw opponents off guard. While the Women’s Marches organized and publicized in advance, their momentum galvanized individuals into devising their own creative contributions—from whimsical signs, costumes, and T-shirts, to unleashing satirical songs and drawings on social media, to theaters, art shows, and apparel raising money for such advocates as Planned Parenthood, American Civil Liberties Union, and the Southern Poverty Law Center. “Each successive leap in nonviolent progress has built upon the acts that happened before,” Andrew Aydin, who co-wrote the bestselling March trilogy with congressman and civil rights icon John Lewis, told Co.Create last summer. (March sales skyrocketed after Trump insulted Lewis.) “One of the key proponents in the national sit-ins was that there was also a boycott going on of stores that wouldn’t sell to AfricanAmericans. So you took one tactic, you added another, and put it all together to put pressure. So if young people today creatively used tactics from that movement, and added social media, that’s how they’ll make the next great leap.” The mounting artful protests since election day seemed to take their cue from this approach. For every celebrity
statement, like Shia LeBouf’s He Will Not Div Apple’s “Tiny Hands” are explosions of indiv like the Pussyhat Project, New York’s Nasty Women art show fundraisers, and the anti-Tr York bridges and skies.
Some were spontaneous. Within hours of alt Spencer getting punched on camera, Micros evangelist Rachel White offered a T-shirt bea the event, with all proceeds going to the ACL
Some were subtle. A film series on women d Southern California used today’s political ba ing and panel on Triumph of the Will, a famo
Yet others were just artistic outbursts. Disne an NAACP Image Award nominee who receiv from Barack Obama for an Incredibles-inspir First Family, honored fan requests to continu who he reimagined as Incredibles’ villain Sy
The political turmoil has proven fertile groun and illustrators. Neil Gaiman, Amanda Palme Nunes teamed for a video of Leonard Cohen’ for PEN America’s quest to defend freedom o contributed writer portraits for PEN America
Meanwhile, Bill Sienkiewicz weighed in on so farewell portraits of Obama, March illustrato
“The nonviol up a gauntle on homopho codified an i
vide Us livestream and Fiona vidual and grassroots efforts, Women, and Uprise/Angry Trump banners gracing New
en’s empowerment signage art based on a concept by his wife and her friends marching in D.C., while political artist Mark Bryan offered a line of anti-Trump posters. Not to mention, an exploding anti-Trump craft industry.
t-right leader Richard soft engineer and technical aring a video screengrab of LU.
Art to March With
directors at the University of ackdrop for a timely screenous Hitler propaganda film.
ey Imagineer Nikkolas Smith, ved a signed thank-you letter red drawing of the former ue the theme with Trump, yndrome.
nd for veteran comic writers er, David Mack, and Olga ’s Democracy to raise money of expression. Mack also a’s Writers Resist protest.
ocial media with emotional or Nate Powell created wom-
The expression crescendoed with the Women’s Marches. The Missile Dick Chicks, dormant since the George W. Bush administration, resurrected for the New York and Oakland marches. The antiwar protest group began in New York to protest the Afghanistan and Iraq invasions, attended protests dressed as buffoonish war mongers with missile strap-ons and oversized stuffed bras (war chests). Madefire CEO and graphic designer Ben Wolstenholme, crafted a freeuse anti-Trump campaign design for the San Francisco march that could be expanded into a line of petitions to run through Trump’s tenure. Artist Shepard Fairey, who gained notoriety for his 2008 Obama “Hope” campaign poster, created the We The People poster series with The Amplifier Foundation, featuring pictures of diverse women. Fairey gave away posters at his Los Angeles studio, and made the images available as free downloads for use around the world. The images were also featured in full-page ads in The Washington Post, USA Today, and New York Times.
lent but spirited display not only picked et thrown down by a campaign that won obic, misogynistic, and racist rhetoric, but integral part of resistance: creativity.”
“ I want the Women’s March to be the beginn important story. A story of resilience, a stor
Thanks to a lone sunny day between days of rain, Los Angeles drew the largest crowd, as a jovial swarm of 750,000 encircled downtown’s Pershing Square and City Hall. There were also offshoot marches in Beverly Hills and Pasadena. Costumed participants waving handmade signs posed for photographs, drummed, sang, and chanted, “We must fight, we must fight! This is what democracy looks like!” and “Love trumps hate!” At City Hall, celebrities, activists, and politicians spoke throughout the day, while entire blocks of protesters, tired of standing still, split off into impromptu marches around the area.
ning of an ry of resistance.”
Among the participants was Dani Paquin, a singer/ songwriter and jewelry maker, who created the Safe Tee line of decorative safety pins—a symbol promoting a safe community regardless of gender, sexuality, race, disability, or religion—to wear at and beyond the marches, that donates half of its proceeds to Planned Parenthood, ACLU, or the SPLC. Another brought a sobering but hopeful message with her artform. L.A.-based Italian filmmaker Vanessa Crocini shot footage of its Post-Election (below) and Women’s marches as first steps in chronicling Trump’s impact on social issues from her viewpoint as an immigrant and woman. “This is such a historical moment,” she said. “This past election has been a very heavy cookie to digest and the mourning process is still hard. I wanted to feel like I belonged to this country, even if I am not a citizen, and make other people feel like we are all in this together. I wanted to capture history and I thought putting together the footage from the [Post-Election] protest would have helped me to process my feelings, my rage, my despair, to rethink my American dream.”
The reactions she got after posting it on Facebook “made me think that I do have a voice in this country,” Crocini added. “Now, I want to interview women and capture our different voices and make a short piece that can stir up more awareness and grow our sense of responsibility. I want the Women’s March to be the beginning of an important story. A story of resilience, a story of resistance.”
THE WOMEN’S MARCH AND THE ART OF CREATIVE RESISTANCE
Swasti Mittal Articles and imagery found in collaboration with ART 338-01 Type II class at Cal Poly, San Luis Obispo. Typeface Used: Ingra, DIN 2014, and Majesti March 2017
A Magazine about Typography, Design, Activism and Social Justice by Your Name, created in Art 338: Typography II at California Polytechnic S...