Month: February 2022

CRITICAL ENQUIRY

Our chosen object was a single-use plastic bag with the graphic ‘Into the Weird Adult Video Emporium’ printed. It was designed and manufactured in Vancouver to use humour and shame to discourage shoppers from picking up any single-use bag and change people’s opinions about plastic consumption. Through this object, we asked ourselves whether design can solve problems effectively without creating any. We explored our individual positions through research and creative experimentation by analysing the object’s materiality and its drastic effects on our ecosystems. We realised that the answer to our imminent question was – no. The designing and production of new objects result in pollution, depletion of resources, and a throwaway culture where single-use items have become the norm. However, we can curb the intensity of these problems by looking at material reusability as a solution. Through a series of visually bold posters combined with strong slogans, we decided to draw attention to reusable bags as an alternative to plastic bags. We aimed to encourage people to make a slight difference and spark a conversation about how designers can reduce their environmental impact.

ANNOTATED BIBLIOGRAPHY

Critical Graphic Design: Critical of What?
by Francisco Laranjo

In this reading, Laranjo proposes some critical and analytical design thinking challenges and states that a designer must approach design as criticism to develop a critical practice. However, the critique is not targeted at the designer’s practice or even design in general, rather at different social and political phenomena. Similarly, the objects at the Rapid Response Collection critically raises questions about economic, political, and social change, globalisation, and technology by instigating a conversation about how products are designed and whom they’re designed for. The collection focuses on design’s impact on society. The objects on display are chosen based on their potential to ask critical questions about the contemporary issues it surrounds. Our selected object, the plastic bag, sheds light on the overwhelming effects of plastic pollution and how design in this situation has resulted in mass production and damaging consumerism. Further exploration of our object reveals how designing and creating new products always adds to severe environmental problems. As designers, we need to be mindful and critical of what we are designing, the kind of clients/projects we are choosing and the impact our work has on the viewer.

Laranjo, F. (2014) ‘Critical Graphic Design: Critical of What?’, Modes of Criticism.
Available at: https://modesofcriticism.org/critical-graphic-design/ [Accessed 23 February 2022]

Adversarial Design as Inquiry and Practice
by Carl DiSalvo

DiSalvo’s exploration of design in connection with political issues examines how design can be provoking and engaging. He attempts to question conventional design approaches in regard to political matters. He describes “adversarial design” as a practice that uses design to challenge values, beliefs, and what is perceived to be a fact. Following the foundations of this reading, we questioned our positions regarding our object. Can design represent every person’s point of view in an equal way? Can a designer’s position be wholly unbiased or completely prejudiced? Design impacts society, but does society conscientiously impact design? This seemingly simple plastic bag, with its humorous graphic, questions the political uncertainties of the plastic pollution debate and critically questions whether design can solve problems without creating any. Plastic bags were made to save the planet; they were developed as an alternative to paper bags. Fast forward to today, they are now a symbol of damaging consumerism and dying ecosystems. Our project answers our critical question by analysing the plastic bag and searching for its alternatives.

DiSalvo, C. (2012) ‘Adversarial Design as Inquiry and practice,  in Adversarial Design. Cambridge: MIT Press, pp. 115-126.

The Effect of Social Development on Graphic Design Practice
by Hussam Al Qur’an 

Qur’an’s exploration of the effects of social development on graphic design helps us better understand the new challenges that designers must deal with ethically and culturally. A designer’s role in society has evolved in response to social, political, and cultural circumstances and developments in technology. Qur’an investigates this change in responsibility and its impact on graphic design practice. He states that designers need to apply a user-centered methodology to their design process. They need to “create dialogue and empathy with their end-users.” Throughout our exploration, we used this method to create campaigns to influence the viewer and motivate them to make a simple change in their lives (using reusable bags). During our investigation, we questioned the influence of graphic design whether it has the potential to change social behaviour.

Al Qur’an, H. (2017) The Effect of Social Development on Graphic Design Practice. Zarqa University.

Plastic thank-you bags have a special history in Chinatown. It’s changing. 
by Bonnie Tsui

Tsui’s very special take on the cultural significance of single-use plastic bags within Asian communities is uplifting in the way it combines environmental responsibility and cultural appreciation. She talks about how most Asian households reuse these single-use plastic bags and how they serve as a portable good-luck charm and are a symbol of their “thrifty no-waste immigrant ethic”. However, as many cities restrict single-use bags due to environmental concerns, designers are reimagining durable alternatives that still carry cultural significance by using the same bright, nostalgic graphic icons from the original single-use grocery bags. Currently, plastic bags are produced globally at a rate of one trillion a year. Plastic is actively destroying ecosystems. However, creating reusable bags can perhaps help eliminate excessive plastic while preserving cultural memories. Using this ideology, our project could definitely be more impactful if we brought in familiar emotional elements of different cultures.

Tsui, B. (2019). Plastic thank-you bags have a special history in Chinatown. It’s changing. [online] Available at: https://www.nationalgeographic.com/environment/article/plastic-thank-you-bags-and-asian-american-communities/  [Accessed 25 February 2022].

Plastic Coral
by Yang Dongwook

‘A Plastic Coral Ecosystem’ is an environmental campaign that shines a light on the increasing plastic waste in oceans and its effects on coral reefs. The plastic waste buried in the oceans blocks the corals from getting any nutrition, resulting in them losing their colours and eventually whitening. The campaign takes a uniquely glamourising direction to discourage plastic consumption through its plastic coral sculptures, beautiful editorials, and frivolous descriptions such as “bright emerald gem” and “luminous treasures”. The transformation of natural corals into sculptural plastic corals is ironically dynamic and an impactful way to display the severity of the situation. This campaign contrasts existing plastic pollution campaigns that feature trash-filled oceans and landfills. Glamorising plastic to spark meaningful conversation was our initial approach to creating campaigns as well. However, after further experimentation, we realised that our initial posters almost encouraged the use of plastic bags. Looking back at the Plastic Coral campaign, I question if this printed editorial is the most effective and sustainable way to make a difference. The book uses extensive paper packaging and uses thin plastic sheets to print infographics. This questions the effectiveness of the campaign and challenges designers to think of sustainable ways to create and distribute campaigns.

Dongwook, Y. (2021) Plastic Coral. [online] Available at: https://www.behance.net/gallery/118502295/PLASTIC-CORAL/ [Accessed 25 February 2022].

Research/ Recycled
by Media.Work Studio

“A material’s life cycle does not end when it is no longer used.” Media.Work explores the problems surrounding plastic disposal, the different plastic recycling methods, and reimagines the production of new items from recovered materials. Through a video compilation of strikingly detailed and complex 3D animations, this study analyses the materiality of plastic and the different ways it can be reused. The video provides the viewer with an overwhelming feeling from the visuals of plastic destruction. Conceptually, this study shares a similar theme to our project: finding an alternative to plastic bags without creating new problems that would affect the environment. However, the approach to this project is very different. Media.Work successfully uses sound, movement, colour, and textures to convey their message and intentions. 

Media.Work. (2021) Research / Recycled. [online] Available at: https://www.behance.net/gallery/128345487/Research-Recycled/ [Accessed 25 February 2022].

Words: 1,145 (excluding titles and bibliography)

Group Project by Jamel Jama, Jacqueline Yang, and Aishwarya Sanchety

Our initial inquiry was to ask whether designers can solve problems without creating any, and the answer we came to is no. Still, we can reduce the intensity of the problems created by looking to reusability as a solution. Mass production and consumerism have led to a throwaway culture where single-use items have taken over as a norm. The problem with this is the level of pollution increasing worldwide, and with it comes the destruction of habitats on land and in the ocean threatening animal and plant life.

With our final project, we decided to focus on reusability to draw attention to the ecological damage caused by single-use polyethylene plastic bags.  Initially, we started creating posters to encourage the use of plastic bags. On further analysis, we realised that our posters almost encouraged the use of reusable plastic bags, rather than looking for alternatives. These were some of our initial explorations:

FINAL COLLECTION:

Eventually, we moved on to reusable tote bags. We decided to feature reusable bags as an alternative to plastic bags by creating bold visual posters with a unique visual aesthetic combined with a positive message that uses fun slogans to spark a conversation about plastic bag use and how we can all reduce its usage. These posters were printed on recycled paper.

After our final critique, we realised that our posters looked very commercialised. It felt like we were trying to sell these particular tote bags, rather than encourage reusing any bag you might have at home. We came to the conclusion that the posters would have more of an impact if we were to use photographs of people using their own reusable bags. Following a similar editorial aesthetic but focusing on bags that already exist rather than creating new designs. In addition, we want to explore different printing methods to make the process more sustainable.

Group Project by Jamel Jama, Jacqueline Yang, and Aishwarya Sanchety

The Rapid Response collection at the V&A is intriguing but also overwhelming. The exhibition’s curator(s) have clearly very thoughtfully designed this collection, and collectively, they made me think about how design impacts society and how society impacts design.

The three products we chose to analyse are:

1. ‘Into the Weird Adult Video Emporium’ – Single-use plastic shopping bag, 2019. Designed and manufactured for East West Market, Vancouver. Material: Polyethylene film and ink.
2. Macbook Air Casing and Components – Manufactured for Apple, USA 2012, destroyed 2013. Designed by Jonathan Ive.
3. Hands-free 3D Printed Door Openers – Designed and printed by Materialise, 2020.
Made in Belgium. Material: Polyamide (SLS).

We chose the single-use plastic bag to move ahead with for this project. As a group, we found it interesting that a plastic bag was on display at the exhibition. It isn’t something we would expect, something so mundane, a tool of daily convenience from recent history, on display in a museum. We found the story behind its invention and rise to prominence very interesting because it was originally designed to solve a problem, but instead became a symbol for mass consumerism and the destruction of ecosystems around the world. 

CRITICAL ENQUIRY: This object made us think of whether designers can solve problems without creating any? Can design be used to simply and effectively solve problems like the plastic bag was meant to do, without contributing to environmental and societal problems? As designers, we have a responsibility to safeguard our self-respect by choosing some projects over others and making sure that design is used to spark a debate about how issues like pollution are tackled on a global scale. 

Experiments:

1. We started our experimentation by exploring the object’s materiality. The way plastic bags look is often ignored as they are mainly used for their functionality and convenience. We scanned the plastic bags to conduct a detailed analysis of their texture and the organic patterns they create.

2. As plastic bags are often overlooked, we wanted to exaggerate their context by photographing them in a studio setting, with a white backdrop and specific lighting. The results were delicate and fluid sculptures-like artworks. Although the bags were positioned spontaneously, the possibility of what the shapes could inspire is limitless. 

3. Plastic waste affects wildlife, ecosystems, and people. Single-use plastics specifically are a big part of this problem, they are prevalent and trying to avoid them is extremely hard. This set of experiments is a creative exploration to increase awareness of the harmful effects of plastic in our environment. The purpose of photoshopping plastic on flora and fauna creates an action-oriented creative that hopes to change people’s opinions about plastic consumption, encourage people to make a difference, and sparks a conversation about how design plays a role in shaping some of the biggest issues of our time.

4. Lastly, we created a couple of informational clips that shows the timeline of the plastic bag and how it’s damaging our habitats.

DRAFT 1

The medium I chose to analyse is the Risograph – a dull-looking, chunky, and clunky machine that uses translucent ink to create textural, layered, vibrant prints. I was interested in exploring the relationship between digital and analogue through the physical process of a digital screen-printer. I was also drawn to the playful but deliberate nature of its process.

I found the Risograph challenging and gratifying in the way it helped me let go of some of the control, print without a precise plan, and allowed room for some happy mistakes, bringing in various perspectives. I expected each subject’s print to look the same; however, the outcomes were unpredictable with the misalignments and varied colour saturations. In addition, the Risograph added an instinctive and spirited nature to my work through the grainy texture and unique character of each print. It was magical to see the colours react to each other and the subtle layering that the experimentation with the masters allowed.

Through these iterations, I question: How can I push the boundaries of Risograph printing to develop my visual language and create a combination of my different aesthetics? How can I value these imperfections of Riso and use them to complement my practice?

DRAFT 2

Following last week’s experimentations, I decided to move my inquiry forward by using my imperfect tool – the Risograph – to create a perfect copy of a photograph, keeping in mind its textured and layered qualities. I realised that Riso’s limitations encourage more creativity. Instead of getting frustrated with its imperfections, I decided to embrace its unpredictability and focus on how the textures and vibrancy of the colours added more depth to my work and made it more engaging.

Using the Conditional Design Workbook as a reference to further interrogate my practice provided me with a framework to analyse my methodology. I was particularly fascinated by this sentence, “Process trumps product, that logic is their guiding method, and that they embrace external influences, which they ‘input’.” (Maurer, 2013, p. iii). I decided to approach my process with the thought that the strength of an artwork lies as much in the steps taken to create it as it does in the outcome.

I experimented with various colourways and changed the order in which they would be layered. Each print was slightly different from the one before and had a unique character and colouration. Eventually, I achieved an outcome close to what I was hoping for. This iterative process resulted in a genuine representation of my subject, not identical in the visual form but rather its feel. Moving forward, I would like to incorporate Riso into my practice and use it as a guiding tool to elevate my work.

DRAFT 3

While I started this project with a particular set of expectations, my process and thoughts evolved with the various iterations that challenged the perceptions of the subject. This week I experimented with the same collection of colourways on the Riso to create my perfect copy of my Not just a Seat photograph. I added colour swatches to each iteration as a noticeable element to easily differentiate them from each other. Like the previous week, I struggled with some of the limitations of Riso and became interested in researching how other artists take advantage of unpredictable mediums to inform their work.

In an interview with Design Anthology, ceramicist Lubna Chowdhary talks about how she “appreciates the accidental results and details that traditional methods generate.” A glance at her work further expanded my thought that limitations and constraints are essential to both the process and the outcome. When asked to describe the design language of her work, she says, “I look for ways to forge relationships between disparate entities, patterns, and visual references, creating in the process an ambiguous interplay between the familiar and the unrecognised.” I think the Riso explores this interplay boundlessly, with its misalignments and unpredictability in colour saturation, and that is what adds character to its unique tactile nature.

I have come to love the Risograph process. Once I acknowledged its technicalities, I realised how much space there is to experiment and be playful with the process. Every print has a slightly different finish, capturing layers of textures and colours. I was keen to see how my practice would translate into this medium. It was gratifying to see how the unpredictable organic nature of the Riso complemented my creative process. Its various facets challenged the possibilities of print.

My experience of this brief has been an experiment in the art of gathering different perspectives. The approach of appreciating the “accidental results” has been critical to my process and has allowed me to enjoy each iteration. Without this practice, I would have spent a lot of my time trying to create the “perfect” copy in a traditional sense and would never have moved forward from my initial iteration. Instead, the unexpected nature of the tool gave my process some clarity, creating a narrative that complemented my inquiry. 

REFERENCES
Maurer, L. et al. (2013) ‘Conditional Design Workbook’. Amsterdam: Valiz, pp. ii-xiv 
Thomas, B. (2019) ‘In conversation with Ceramicist Lubna Chowdhary’, Design Anthology. 
Available at: https://design-anthology.com/story/lubna-chowdhary/

During the last week, I experimented with the same collection of colourways on the Riso to create my perfect copy of my Not just a Seat photograph. I added colour swatches to each iteration as a noticeable element to easily differentiate them from each other.

I presented my outcome in the form of cleanly cut prints, but after receiving feedback I realised a gif would be a better representation of my process since I had over 70 iterations.

Once I acknowledged Riso’s technicalities, I realised how much space there is to experiment and be playful with the process. Every print has a slightly different finish, capturing layers of textures and colours. I was keen to see how my practice would translate into this medium. It was gratifying to see how the unpredictable organic nature of the Riso complemented my creative process. Its unique tactile nature challenged the possibilities of print. Moving forward, I would like to incorporate Riso into my practice and use it as a guiding tool to elevate my work.

Following my first week’s experimentations, I decided to move my inquiry forward by using my imperfect tool – the Risograph – to create a perfect copy of my Not Just A Seat photograph, keeping in mind its textured and layered qualities. I realised that Riso’s limitations encouraged more creativity. Instead of getting frustrated with its imperfections, I decided to embrace its unpredictability and focus on how the textures and vibrancy of the colours added more depth to my work and made it more engaging.

I experimented with various colourways and changed the order in which they would be layered. Each print was slightly different from the one before and had a unique character and colouration. Eventually, I achieved an outcome close to what I was hoping for. This iterative process resulted in a genuine representation of my subject, not identical in the visual form but rather its feel. 

The tool I chose to analyse is the Risograph – a dull-looking, chunky, and clunky machine that uses translucent ink to create textural, layered, vibrant prints. I was also drawn to the playful but deliberate nature of its process.

I experimented with Riso’s different testing capabilities: printing with screen touch, printing with grain touch, changing frequencies and angles of colour, using the scanner’s automatic colour separation settings, and pulling out the master screen off the roll and printing by hand. I found the layering of colours and prints on sample paper very intriguing, however, I also fussed over the print’s imperfections. 

Through my initial experimentations, I questioned: How can I push the boundaries of Risograph printing to develop my visual language and create a combination of my different aesthetics? How can I value these imperfections of Riso and use them to complement my practice?