Re: Graphic Design Heroes & Citizenship in Design

I had never heard of Jan Van Toom prior today and I can’t necessarily say that there is a designer that I admire for his/her contribution to social change. I am at awe when I do see a great design that influences or makes one aware of an issue. I do believe that when trying to communicate a particular political or cultural message, a designer should take into careful consideration and thoughtfully portray society and reality in their work.

An example that I can think of is not necessary a designer but an artist - the late Theodor Seuss Geisel better known to most as Dr. Seuss. Most people are familiar with Dr. Seuss through his children’s books however, he was also a political cartoonist from 1941 to 1943. He worked as a cartoonist for the New York Liberal Newspaper PM, and his work portrayed and commented on issues of the time.

"Listen maestro...if you want to get real harmony, 

use the black keys as well as the white!" PM, June 29, 1942 (Via)

“What Have You Done Today To Help Save Your Country 

From Them?” PM, March 5, 1942 (Via)

Later in his career a large portion of his influence on his political works at the PM newspaper could be seen within his children's books (i.e.: The Cat In The Hat, The Lorax, The Sneetches, etc.), where he used the themes such as fairness, tolerance and democracy in an attempt to help make for a better society. It is with his work I believe Dr. Seuss communicates various political and social messages not only as a part of making a living, but based on beliefs, his experiences, and a quest to reshape society. 

Re: Graphic Design Heroes & Citizenship in Design

A designer or artist I have admired for quite some time is Banksy.  "Banksy is a graffiti/street artist known for his risky stencils, and his satirical approach at mocking centralized power, hoping that his work will show the public that while power does exist and work against you, that power is not efficient and it can and should be deceived" (Wikipedia.com). I admire the fact that he is willing to take a stand against the government or higher authorities and their views on graffiti, and illustrate his work in a way that makes them look unintelligent.  Graffiti does receive a lot of criticism while it is illegal, and there are people that still don't view it as a form of art. In the book Banksy: You are an Acceptable Level of Threat, the author Patrick Potter mentions that "during the nineties the UK witnessed the rise to power of political class based on spin and big smiles, and the idea that all you needed to succeed was to have a positive attitude.  While this idea grew popular in the corporate culture, trains were being sold off to financiers at tax payers expense" (Potter).  In response to this Banksy stated "If you don't own a train company, then go and paint one instead" (Potter), an example of him going against the social norm and creating art that others will follow.


That being said, I think Van Toorn's argument is very important, while it is often that designers come across projects they think are unethical, and are soon in a bind. The designer wants to stick to what they believe, but at the same time they want to continue to create what their client thinks is popular.  But, I also agree that "everyday life is falsely represented and causes tension between ethics and symbolism."




References

"Banksy." www.wikipedia.com. Wikipedia The Free Encylopedia, n.d. Web. 10 Oct 2012. <http://en.wikipedia.org/wiki/Banksy

 Potter, Patrick. "Banksy: You Are An Acceptable Level Of Threat." Carpet Bombing Culture. n. page. Web. 10 Oct. 2012. <http://www.huffingtonpost.com/2012/08/30/banksy-graffiti-book_n_1827644.html?view=print&comm_ref=false>. 
 

Re: Graphic Design Hero

I have never given too much thought to designers who are making social change. I guess it's just the way I have always been but a few semesters ago I did write a paper on Shepard Fairey. I know someone else has already mentioned him but I think I will too. Fairey started out on a small scale with his political designs but is now very well known for them. One piece that I will mention because it draws from the past and in a way sends a tribute to designers of social change from long ago, "Guns and Roses" (right) is extremely similar to "Political Power Comes From the Barrel of a Gun" (left)

A lot can be said about Fairey and plagiarism, believe me it comes up all the time. Feel free to read this article I found while writing my paper http://www.art-for-a-change.com/Obey/index.htm But he still gets a ton of attention for his socially conscience designs. He is making a difference whether we agree with him or even like his work.

Graphic Design Heroes & Citizenship in Design

I find this an interesting argument. I tend to agree with Andy when it comes to this subject. As designers, we have to deal with client's needs and it is hard to insert a political stance into the design work we do. Mark has a good point as well about what eventually happens to rebellious design trends--even if who you are working for lets you do it, it might get incorporated into popular culture in a way that removes the edginess. But then, if it is incorporated, is it helping society to change. This makes me think about long hair in the 1960s. It was a big deal to have long hair as a man, but as the trend spread, it removed the stigma, and now it's a normal thing.

This paragraph in the main post sums up how one could take a stance in the work they do if they wanted to: "In order to make what van Toorn refers to as an “oppositional cultural production,” the designer must take care not to create a specific alternative to an established convention, but to simply present it in a creative and new way, while keeping the universally accepted concept intact. A designer’s opportunity to upset the status quote can only be sought when a political or ideological shift is underway, which results in “creating new public polarities,” usually targeting real social problems. Now the designer can encourage an oppositional stance, one that goes against the communicative order. The ultimate goal of this approach is to evoke questions and reflection among the public and encourage a more pragmatic view of reality, forcing them to identify their own needs and desires." 

I believe it is difficult to operate outside of the norm if you are selling things--the design of a product or a campaign must be within the realm of the consumer's experience, it can't stray too far or it will not be appealing. I think this is more possible in the art world, like Andy was saying, then in the context of graphic design. Graffiti is an example of an art form like this that really upsets the status quo and evokes questions and reflection among the public. However, it is because of the placement of the pieces of art outside of the normal space and the illegality of the art that makes them oppositional. 

Re: Graphic Design Heroes & Citizenship in Design

Is it terrible that I've never thought about my "favorite?" It just isn't something I have put a ton of thought into. If I may be quite honest, I feel as though I am just someone who thinks that things either look good, or they do not. Sometimes I may recognize someone's work because I am drawn to the style ( like Chipp Kidd's book covers, and I use book covers because I love looking at them all the time). Still, I don't think I have anyone that I necessarily idolize. I think I just respect them for their work and sometimes, I don't even now who "them" is.

Maybe my complacency when looking at design sometimes is a result of not feeling stimulated enough for the reasons van Toorn is stating. When something is popularized and used at excess due to the preferences of a ruling class, there is a great possibility that I am "numbed." It may explain why I am often drawn to styles of design that are not as current, or that are cleaner or more sparse in nature. It isn't my style to create work like this, but it certainly is something I enjoy looking at.

RE: Graphic Design Heros & Citizenship in Design

In response to Marie's question: I admire the work of J. Howard Miller and his "We Can Do It" posters.  Miller was hired by the Westinghouse War Production Coordinating Committee to create a series of war posters. The intent of the posters was to boost employee morale not persuade more female workers to join the work force. It was not about women's empowerment and the name "Rosie" had no association with the poster. In fact, the poster was only shown to workers in the Westinghouse factory during a 2 week long period.

Many believe that J. Howard Miller's design is that of Norman Rockwell's.  As the world began to misinterpret Miller's "We Can Do It" posters as female empowerment, he decided to base his design off of the same concept. In Rockwell's poster, which was mass distributed on the cover of the Saturday Evening Post on Memorial Day, features a large, strong woman holding a lunch pail that reads "Rosie", carrying a rivet gun on her lap. 

Would you call Rockwell's poster un-orgininal because he copied the same concept from Howard? Or would you disagree because Howard did not intend for his poster's to persuade women to join the work force? I think both posters do an excellent job contributing to social change.

Re: Graphic Design Heroes & Citizenship in Design

I found this article, Design Ignites Change, at commarts.com and thought it fit into our discussion this week. A quote from the article says,

“As designer Victor Papanek said in Design for the Real World, ‘Design can and must become a way in which young people can participate in changing society.’ By instilling these ideals in the next generation of creative talent, we will help them to carry these ideals into their professional lives.”

I think it’s possible to get involved and make social change in your community as a designer. You might have to do it on your own time, and you might not get paid for it, but, if you’re passionate about the cause, this probably wouldn’t bother you. Right?