RESEARCH AND ANALYSIS
Guest Lecture: Susanna Edwards in conversation with Maziar Raein.
Drip Dry Shirts: The Evolution of the Graphic Designer
Week two looks at the evolution of design and how each facet has contributed to the identity and culture of the design industry today. An exciting part of this week was an insular look at the design influence in our residing city. I sometimes get lost in broader, more Eurocentric design influences so it was good to bring things home finally.
In my opinion, some of the key evolutionary steps that have contributed to the identity of design culture today are history, technology, politics and education.
The influence of history on design culture.
The most insightful reflection of this week was the fundamental need to understand history, its influences, heritage and artisan skills, to shape future ideas. (RAEIN, Edwards. 2020). The better one understands a subject, the better able you are to utilise those skills.
We know that history transcribed information and ideas, be they religious, political or cultural, through images and texts (Roberts, 2005). Phil Baines drew inspiration for his experimental typographical approach from history, in particular medieval manuscripts and letterpress (Reputations: Phil Baines, 2008). His work shaped the Penguin's Great Ideas Book series (Memorial Lettering: Phil Baines, 2009).
Fig. 1 (Memorial Lettering: Phil Baines, 2009)
The influence of politics on design culture.
I see design as a weapon to be wielded in politics and as a powerful medium to communicate support for or the rejection of political ideology. It is used much the same today as it has been throughout history.
Seen as the grandmother of socially active art Sister Coritas and her serigraphs played an influential role in shaping politics and society ("The grandmother of socially active art": the generous work of Sister Corita Kent, 2020). Her vibrant silkscreens raised concerns around poverty, racism and war and still managed to garner international acclaim for inspiring peace and social justice in the 1900s (Centre, Corita Art, 2020).
Fig. 2 (Center, 2020)
Fig 3. (Center, 2020). Fig 4 (Center, 2020)
Politics saw Hitler close the Bauhaus in 1933 after their ideology did not align with his.
Abstraction was born after the Russian revolution when local artists rejected their past. These artists were at the forefront of social and economic change (Roberts, 2005, pp18).
Revolutionary design approaches led to Futurism, Dada, Surrealism and Constructivism.
Today politics is not about a person, but the brand that person represents. Design creates and shapes this messaging. The design and marketing of the Trump brand and white political theology in the slogan "Make America Great Again" was one of the contributing factors to his election campaign and win (Scott, 2020).
The influence women have on design culture today.
In South Africa, the African culture still sees woman's as subservient and is a threat to the woman's rights movement ('African Culture' is the biggest threat to the women's rights movement - By Patience Akumu | African Arguments, 2020).
Championing the cause of women is, therefore, a strong motivator for me in design. Margaret Calvert, the mother of modern-day information design inspires me. Despite working in a male-dominated field, she created the new signage system for Britain's roads, including the simple and easy to understand graphic language and rail alphabet. (RAEIN, Edwards. 2020). The inspiration for this system was drawn from her earlier, childhood memories (Margaret Calvert – the mother of modern-day information design | Hatched London, 2020). Her work is an integral part of Britain's national landscape, and her recognition laid the foundations for women in design.
Fig. 5 (The Mother of Modern-Day Information Design, 2018)
The influence of education on design culture
Education, economics, society and politics are intertwined with design and shape its direction. Germany's The Bauhaus, founded in 1919, was an education hub whose teachings of industrial production methods and design function shaped modern-day design problem-solving.
The visual approach, ideation, photographic imagery, typography and client cooperation taught by De Stijl, in Holland in 1917, paved the way for modern design practices (Roberts, 2005).
The need for design education to continually evolve and change rapidly is evident in today's design society. During my years of study, Quark and Freehand became obsolete. And yet hand-drawn type and Letraset is still being taught alongside specialisations. Today's design students study a plethora of mediums and executions that enable them to be a one-stop-shop. Technology and even programming are incorporated into their teachings (How has technology changed the career of a graphic designer?, 2018).
The influence of technology on design culture.
Technology's influence on design is increasing rapidly. Look back at history, and you see progress happen in small, incremental measures. Hieroglyphics and cave art were used as design communication for thousands of years, followed by books transcribed by hand. For 500 years, print was reserved for books, but the Industrial Revolution's need for mass production created print for various mediums. In 1880, the invention of mechanical systems created printing speed to replace the time-consuming process of hand-set type. Photographic typesetting where the text was photographically transferred to printing plates replaced both hand and machine-set type. A photographic technique, developed in the early 1900s, led to the creation of printing plates, resulting in full colour, faster, cheaper, more accurate printing (Roberts, 2005).
The timeline for change may have been slow to start, but technology has sped up exponentially. We live in a time of instant gratification. People want everything now. We're able to compile a job and send it to print in an hour. We can edit images using apps on our phones faster than photoshop (How has technology changed the career of a graphic designer?, 2018).
If you don't keep up, you get left behind and become obsolete, much like machine printing replaced skilled engravers in the space of a few decades (Roberts, 2005). Plate printing will soon become a museum relic what with advanced computer equipment producer better digital prints.
Even with the evolution of technology in design, I do take comfort in the fact that machines cannot replace creative thinking. The tools change, but human input stays the same (How has technology changed the career of a graphic designer?, 2018). Creativity is an irreplicable, valued commodity that enables imagination and design.
WORKSHOP CHALLENGE - PART 1
The 4 key evolutionary design steps that contributed to the identity of design culture today in my country are:
1). Rock Art
2). Apartheid
3). Black Economic Empowerment
4). The 2010 Soccer World Cup
1). Rock Art
A reflection and understanding of history to influence the present is best illustrated by some of the earliest forms of art on the African continent. The San people over 4000 years ago created rock art of exquisite quality, depicting their spiritual life, aspirations, nature and animals in one of the most authentic art forms made up of powerful aesthetics, balanced compositions and colour schemes (Chapter 15 - African Art, 2020). South Africa has utilized their indigenous rock art with a sense of pride, carrying it through to contemporary design in all its major national symbols such as the coat of arms and banknotes. (Smith, 2016)
Fig. 6 (Guilty Novin's A History of Graphic Design, 2020)
2). Apartheid
The Apartheid system of oppression and segregationist policies against non-whites from 1948 to 1994 brought about resistance in many forms that shaped politically inspired design (Apartheid, 2010). Johnathan Shapiro, better known as Zapiro was a political cartoonist and member of the anti-apartheid movement at the time. His liberal influence was seen through complex caricatures bringing a comedic approach in a climate of oppression. (Koelble and Robins, 2007)
3). Black Economic Empowerment (BEE)
Black economic empowerment (BEE) brought about in South Africa’s “New Dawn” was introduced to redress the inhumane policies of apartheid, promote growth and realise the country’s full potential by bringing the black majority back into the economic mainstream (Black economic empowerment, 2013). The design industry was suddenly flooded with African cultural influences of inspired vibrant colours, patterns and traditional perspectives. Osmond Tshuma illustrated this by creating a visual language of iconic, pan-African inspired symbolism, drawing reference from African culture for the Obama Foundation Africa Leaders program (Osmond Tshuma a graphic designer transforming African design, one pattern at a time, 2019).
Fig. 7 (This is Africa, 2019)
4). The 2010 FIFA Soccer World Cup South Africa
The 2010 South African World Cup left a legacy of design and enabled South Africans construction and design industries to showcase their skill and capabilities (Bokelman et al., 2011). The capital influx and economic boost invested, attributed to the reshaping of cities through design and infrastructure. (Gibson, 2020). The Cape Town cityscape was transformed by its stadium, elaborate surrounding parks, walkways, vibrant African inspired posters and signage. The Soweto Soccer City Stadium with its calabash or African pot design is the most recognisable and showcased African design and cultural influences. (Bokelman et al., 2011).
Fig. 8 (Research Gate, 2020)
WORKSHOP CHALLENGE - PART 2
Cape Town is a vibrant hub of design activity and far more Eurocentric than the rest of South Africa. The diverse population and influx of foreigners contribute to a culturally rich society that influences and inspires design in the city.
This influence stretches far and wide and often in the most unique and unusual places. Fashion, architecture, restaurant design and graphics all play a pivotal role in the aesthetics of the city. I wonder if smaller studios or solopreneurs have a greater impact than larger agencies because they offer a more personalised and niche service.
M&A Design
Company Statement
Design wisdom since 1987. Three decades since we opened for business. Not bad, overall. Yes, we know you’re the client. That’s why we need you to just let us do it. Challenge us. We’ll challenge you back. It’s ok. Our job is to make it easy for you.
It takes a lot of work to make complexity look simple and effortless. But that’s our job. And we like what we do. We like to work. People say it feels good here, in this house. We think you’ll like spending time with us. One client came, and stayed over 30 years. They’re still here.
https://www.madesigncapetown.com
Company Summary
M&A Design was founded by Marjie van der Walt and Avril Brown in 1987. It has 13 employees and operates as a mid-sized full-service design studio specialising in design, packaging design, repro, brand strategy and brand architecture (M&A Design, 2020).
How does M&A Design impact design in Cape Town?
M&A Design is located in the avenues of Oranjezicht, an upmarket and popular suburb of Cape Town. Not only is it situated at the base of Table Mountain, but it’s a short five-minute drive, and you’re in the city centre. As a result, it attracts and caters to a diverse clientele, many of which are established local brands and other boutique brands. It’s a pioneer in innovative packaging and print finishes. For example, they introduced the first printed matt metal can with spot varnish in South Africa—this was using the Appletiser brand. Most notably they’ve rebranded and repositioned Ouma Rusks and Bakers Biscuits, a staple in every South African’s pantry.
Fig. 9 (Google Maps, 2020)
Fig. 10 (Wildlife ACT, 2013). Fig. 11 (M&A Design, 2020)
Pichulik
Company Statement
The Essence of PICHULIK
PICHULIK is an ethical jewellery, accessories and womenswear atelier based in Cape Town, South Africa. Rooted in Africa, and inspired by ancient traditions and cultures around the world, PICHULIK seeks to impart sacred feminine wisdom through its unique and intentional designs.
https://www.pichulik.com
Company Summary?
PICHULIK is a Cape Town-based, ethical jewellery and womenswear brand, founded in 2013 by Katherine-Mary Pichulik. This one-woman business employs, collaborates and outsources to women and small, woman-owned businesses, promoting job creation in smaller communities (PICHULIK - Bold Jewellery. Brave women., 2020). Her business is seen as a platform for African women to thrive (Katherine-Mary Pichulik — Stories of Near, 2020) and as having “the potential for design to make a significant contribution to the economy while facilitating impact and development for women in Africa” (Gambade, 2020).
How does Pichulik impact design in Cape Town?
Each handcrafted piece shares stories of brave women and celebrates empowering feminine narratives through vibrant colours, patterns and shapes. The symbolism of these distinctive pieces are worn as badges of honour with a sense of pride and bravado by Cape Town residents, local celebrities like award-winning chef Zola Nene and recently by global fashion enthusiasts. In a country with one of highest crime rates in the world, and high levels of gender based violence, a brand that empowers woman and brings awareness to the plight of woman is a design influence beyond measure (Gender-based violence in South Africa, 2020).
Fig. 12 (V&A Waterfront, 2020). Fig. 13 (More Than Food, 2020)
The Old Biscuit Mill
https://theoldbiscuitmill.co.za/
Company Statement
A vibrant community in the heart of Woodstock where talented people come together to share, collaborate and show off their heartfelt passions. The Old Biscuit Mill is home to dynamic office spaces, a range of workshops and designer stores, decadent restaurants, food stalls as well as an inspiring line-up of day and night-markets, festivals and productions. Come and explore the Old Biscuit Mill and meet some of South Africa’s most innovative and creative designers, artists, photographers and connoisseurs of fine taste and décor.
Moreover, the Mill – as it’s affectionately known – houses some of the city’s most charming architecture and, since its revitalisation over 10 years ago, has secured its spot as one of Cape Town’s favourite destinations.
Company Summary
The Old Biscuit Mill is a design community in Woodstock, where talented artisans meet each week to share and collaborate (The Old Biscuit Mill, 2020). Home to dynamic office spaces, workshops, designer stores, restaurants, and food stalls, it has become the exhibition epicentre for some of South Africa’s most innovative and creative designers.
How does The Old Biscuit Mill impact design in Cape Town?
It is not a design studio, but instead a hub of design and design influence for the Cape Town community. Every Saturday, scores of local and international crowds flock to the marketplace to explore, eat and shop. No wonder it’s become a launchpad for up and coming brands. Think of your neighbourhood street market where design and creativity are essential. Mini store design, product and packaging design are exhibited on a grand and professional scale in a small space. The platform is so effective that many start-up brands are using the marketplace platform to test the product before launching in a retail space (De Beer, 2019).
Fig. 14 (Creating a Storm, 2019)
Fig. 15 (The Old Biscuit Mill, 2020). Fig. 16 (Creating a Storm, 2019)
DESIGN PRODUCTION IN CAPE TOWN
Good Letter Best
https://goodletterbest.com
Good Letter Best are masters of bespoke, small production laser cutting, laser engraving and digital printing.
MF3D
http://www.mf3d.co.za
MF3D is a one-man show 3D renderer of product and packaging design. His innovative conceptualisation and unique staging of products sets him apart from others in his field.
Sign & Seal Labels
https://www.signseal.co.za
Sign & Seal Labels are masters at digital, self-adhesive and non-adhesive label printing. Be it a small or large run, they are known for excellent quality, unique and innovation bespoke printing and application of foils, textures, embossing, debossing, letterpress, silk screening.
Fig. 17 (Carstens, Paul. Creating a Storm, 2019) Good Letter Best laser cutting
Fig. 18 (Fairman, Morgan. Creating a Storm, 2019) MF3D renderings. Fig. 19 (Wiggett, Storm, 2020) Sign & Seal Labels screen print and foiling
REFLECTION
An exciting part of this week was an insular look at design in our residing city. I sometimes get lost in broader, more Eurocentric design influences, so it was good to bring things home.
I found the larger agencies played second fiddled to the smaller studios or solopreneurs. I wonder if they have a greater impact than larger agencies because they offer a more personalized and niche service.
African culture still sees women as subservient and is a threat to the woman's rights movement. And championing the cause of women is a strong motivator for me in design.PICHULIK is a Cape Town-based, ethical jewellery and womenswear brand, founded in 2013 by Katherine-Mary Pichulik. This one-woman business employs, collaborates and outsources to women and small, woman-owned businesses, promoting job creation in smaller communities. The company serves as a platform for African women to thrive and has "the potential for design to make a significant contribution to the economy while facilitating impact and development for women in Africa".
Each handcrafted piece shares stories of brave women and celebrates empowering feminine narratives through vibrant colours, patterns and shapes. The symbolism of these distinctive pieces is worn as badges of honour with a sense of pride and bravado by Cape Town residents, local celebrities like award-winning chef Zola Nene and recently by global fashion enthusiasts. In a country with one of highest crime rates in the world, and high levels of gender-based violence, a brand that empowers a woman and brings awareness to the plight of a woman is a design influence beyond measure.
After reading about Sister Corita and Margaret Calvert, it was inspiring to find a powerful visionary for female inspired design close to home.
REFERENCES
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Reference: Gibson, O., 2020. World Cup 2010: South Africa Leaves A World Cup Legacy To Remember | Owen Gibson. [online] the Guardian. Available at: <https://www.theguardian.com/football/blog/2010/jul/12/south-africa-world-cup-2010> [Accessed 4 October 2020].
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Reference: This is Africa, 2019. Osmond Tshuma a graphic designer transforming African design, one pattern at a time. Available at: <https://thisisafrica.me/africans-rising/osmond-tshuma-designer-transforming-africa/> [Accessed 4 October 2020].
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Reference: The Old Biscuit Mill. 2020. The Old Biscuit Mill. [online] Available at: <https://theoldbiscuitmill.co.za> [Accessed 4 October 2020].
Reference: De Beer, C., 2019. Neighbourhood markets, quickly becoming the new retail space where people want to shop. [Blog] Creating a Storm, Available at: <http://www.creatingastorm.co.za/blog/neighbourhood-markets-quickly-becoming-the-new-retail-space-where-people-want-to-shop> [Accessed 4 October 2020].
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Fig. 1: Ualresearchonline. 7 July 2009. Memorial Lettering: Phil Baines. [image] Available at:
<https://ualresearchonline.arts.ac.uk/id/eprint/2180> [Accessed 4 October 2020].
Fig 2, 3, 4: 2020. Corita. [image] Available at: <https://corita.org/collection> [Accessed 4 October 2020].
Fig 5: 2018. The Mother Of Modern-Day Information Design. [image] Available at: <https://hatchedlondon.com/margaret-calvert-the-mother-of-modern-day-information-design/> [Accessed 4 October 2020].
Fig 6: Guilty Novin's A History of Graphic Design, 2020. Chapter 15 African Art. [image] Available at: <http://guity-novin.blogspot.com/2010/03/history-of-graphic-design-african-art.html> [Accessed 4 October 2020].
Fig 7: This is Africa, 2019. Osmond Tshuma A Graphic Designer Transforming African Design, One Pattern At A Time. [image] Available at: <https://thisisafrica.me/africans-rising/osmond-tshuma-designer-transforming-africa/> [Accessed 4 October 2020].
Fig 8: Research Gate, 2020. Soccer City Stadium In Soweto. [image] Available at: <https://www.researchgate.net/figure/Soccer-City-Stadium-in-Soweto_fig1_233630776> [Accessed 4 October 2020].
Fig 9: Google Maps, 2020. M&A Design, Google Maps. [image] Available at: <https://www.google.co.za/maps/place/M+%26+a+Design+(Pty)+Ltd/@-33.9343855,18.414246,17z/data=!3m1!4b1!4m5!3m4!1s0x1dcc6779db57a873:0x5e593e8553e9b31!8m2!3d-33.93439!4d18.41644> [Accessed 4 October 2020].
Fig 10: Wildlife ACT, 2013. Volunteer Rusk Recipe: South Africa's Favourite Tea Time Treat. [image] Available at: <https://wildlifeact.com/blog/volunteer-rusk-recipe-south-africas-favourite-tea-time-treat/> [Accessed 4 October 2020].
Fig 11: Madesigncapetown.com. 2020. [image] Available at: <https://www.madesigncapetown.com> [Accessed 4 October 2020].
Fig. 12: V&A Waterfront, 2020. Pichulik V&A Waterfront. [image] Available at: <https://www.waterfront.co.za/stores/pichulik/> [Accessed 4 October 2020].
Fig. 13: More Than Food, 2020. A No. 1 Chat With Zola Nene. [image] Available at: <https://morethanfoodmag.com/a-no-1-chat-with-zola-nene/> [Accessed 4 October 2020].
Fig. 14, 16: Creating a Storm, 2019. Neighbourhood Markets, Quickly Becoming The New Retail Space Where People Want To Shop. [image] Available at: <http://www.creatingastorm.co.za/blog/neighbourhood-markets-quickly-becoming-the-new-retail-space-where-people-want-to-shop> [Accessed 4 October 2020].
Fig. 15: The Old Biscuit Mill, 2020. The Old Biscuit Mill. [image] Available at: <https://midlife-leap.com/experiences/lunch-at-the-old-biscuit-mill> [Accessed 4 October 2020].
Fig. 17: Carstens, Paul. Creating a Storm, 2020. Creating A Storm Portfolio. [image] Available at: <https://www.creatingastorm.co.za/portfolio> [Accessed 4 October 2020].
Fig. 18: Fairman, Morgan. Creating a Storm, 2020. Creating A Storm Portfolio. [image] Available at: <https://www.creatingastorm.co.za/portfolio> [Accessed 4 October 2020].
Fig. 19: Wiggett, Storm. Creating a Storm, 2020. [image]