Suchergebnisse

Graphic design curricula must be flexible and responsive. As designers and educators we must strengthen the relationships between design and the sciences, between design and business organisations, and between design and relevant communities. There is little doubt that the design paradigm will continue to shift, as will the current economic, social, cultural, environmental, technological and political contexts in which it operates. We are witnessing a time when the graphic object is no longer the sole outcome of design practice. Posters, billboards, publications and navigational systems are still the domain of the graphic designer, but increasingly designers are involved in generating services, information visualisation and visual experiences. Designers are moving away from tangible object-orientation and toward experiential or service-oriented design solutions. As global contexts change, the need to form closer working relationships with those outside of the discipline, in fields like ethnography, psychology, human-factor research and policy making, increases. This understanding of co-operation may be broadened to include the participation of targeted communities that

Teal Triggs was guest editor and wrote an article for this journal issue. Graphic design, it seems, is still searching for its past. Other design disciplines, such as fashion and industrial design, have an established tradition of archiving, documenting, critically writing, and publishing history, as well as engaging with social, cultural, and political contexts. Such histories have, for example, focused on the study of designed objects as well as design movements; celebrated "named" designers and the profession's history; and explored design in relationship to other areas, such as material culture. This is not to say that graphic design has not had its share of commentators who have been defining approaches to studying its own history. However, there remains a sense that graphic design history is less established as a discipline, and perhaps less exploratory in terms of defining new ways of writing about this history. The intent of this collection is to look again at the issues surrounding how we might define graphic design history, as well as to propose new ways forward.

Riot grrrl began as an independent music and political movement in the early 1990s emerging initially in the USA and few years later in the UK. From the beginning riot grrrl embraced a 'do-it-yourself' ethos operating outside the mainstream music business organising independent music festivals, workshop events and encouraging self-published fanzines (fan magazines which were distributed primarily through word of mouth, music gigs, artists and zine book fairs or by post). These zines became recognisable forms of personal expression and made visible a specific DIY approach alongside the development of a coherent style of graphic language in the producer's use of the photocopier, handwritten and graffiti texts, cut-n-paste and ransom note lettering style, collage and the co-option of mainstream media imagery. These production techniques made fanzine publishing accessible and played a central role in the development of a non-hierarchical community. The main intent of this talk is to explore the idea of 'event as performance' using as a case study the specific activities of riot grrrl and focussing on a series of international events called 'LadyFests' and the graphic language of self-published riot grrrl fanzines. This will be achieved by examining the origins of today's riot grrrl performances (e.g. theatre, spoken word, music events) in 1970s feminist art, as well as locating the activities within the specific context of their counter-cultural predecesors including punk and punk performance.

Women's Design + Research Unit poster contribution to 'Art of Protest' exhibition, 8–19 January 2018, the Platform Gallery, Kingston School of Art, in association with the Alternative Art School. Curated by Dr Cathy Gale.

In the run-up to International Women's Day 2014, the Women's Design + Research Unit (WD+RU, UK) and Women of Graphic Design (WoGD, USA) ran a unique Twitter collaboration. Taking the year's theme 'inspiring change', we set ourselves a 48-hour Twitter challenge. Our goal was to help us better understand some of the very real challenges women face in graphic design and equally, to celebrate women who have inspired change; for example, through projects, teaching or mentoring. We asked our friends, colleagues, as well as the broader design community to help us by reTweeting but also by actively participating in our Twitter conversations. We presented our findings and responses at the Design Culture Salon: 'What are the gender politics of contemporary design practice?' (7 March 2014, 7:00 - 8:30pm, V&A, London) Further details here: http://designculturesalon.org/ The Twitter conversation was run from 4-5 March by @WomensDesign and @wofgd using the hashtags: #womensday #graphicdesign

This Conversation session will curate an open exchange about museum futures by exploring design as both a form of cultural heritage and as a catalyst for socio-cultural agency. The confluence of this subject is extremely timely and relevant given the Victoria and Albert Museum's transformative vision and influential, catalysing role in the impending Olympic Park redevelopment. As part of London's single most significant cultural infrastructure project since the establishment of "Albertopolis" back in the 1850s, the museum is approaching "V and A East" as a "once-in-a-lifetime" opportunity to redesign the museum in response to the digital, democratic age. In this session, an invited panel of catalysts will initiate exploratory dialogue about the topic of museum futures through a set of different lenses: i.e. data, materiality, communication systems and curatorial design.

One of the largest housing estates in the UK, The Aylesbury, South London, is undergoing transformation as part of a £2.4 billion regeneration project. The scheme aims to provide a 'blueprint for a new neighbourhood' and in the process, 'create a strong and vibrant community'. As the demolition of the Estate began in October 2009, the Kaleidoscope Project was launched to share the memories, experiences and images of the people who lived there. This paper focuses on one aspect of Kaleidoscope – 'Telling Your Story', which had two main aims: The first was to capture the life stories of the Estate at this moment of change and the second was pedagogical, to use notions of transformational learning to enhance the skill base of some of the Estate's long-term residents. This was achieved through a series of innovative workshops focusing on dialogues around the cultural aspects of food, craft and a sense of history and place. At the same time, the 'people-centered' workshops provided the opportunity to share aspirations for the future through a resident-led blog. These processes and methods can lead to social innovation: social engagement through building a community of learners and knowledge exchange between residents and academia. See also: 'People and the Aylesbury: An Estate in South London Julia Honess and Teal Triggs (editors). This publication was produced for the residents of the Estate by the project partners, which collected the work they had done over the series of workshops as part of the funded outcomes for the Government of Business, Innovation and Skills – 'Kaleidoscope: Transformational Learning on the Ayelsbury Estate.'