design for
DESIGN FOR
S E L E C T E D W O R KS O F G E R M A I N E L A U
Copyright All rights reserved. No part of this publication can be reproduced, distributed or transmitted in any form or by any means, including photocopying, recording and other electronic or mechanical methods, without the prior written permission from the publisher. Some images and text have been used exclusively for inspiration and educational purpose only.
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design for A few years ago, I grew frustrated with design. I strove to create "cool" things, but the end-result often felt hollow. I nitpicked over details like whether something should be "off-white" or "egg-shell white". Whether text should be 12.5pt or 12.25pt. But in the end, did it matter or was I just wasting paper? So I turned into a bit of a curmudgeon about graphic design. David Berman said "Don't just do good design, do good." Using design to impact positive social change is not a new idea. In fact, there are manifestos about this. I shifted my curmudgeon thinking when I realized design is just a tool. Yes we can use it to sell products and make beautiful egg-shell white things with 12.5pt type. And we can also use it to engage with important social issues. We can design to address sustainability, racism, education, or community-building. The message we design for is important. Design is the tool to help us articulate it. And when we have to live by the rules of design as a business (because truthfully, we also all need to make a living), we can stay aware of what we do, who we work for, and how our work can affect others. Design for is my exploration into how we can design for causes and a better world.
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design for change diversity inclusion connection nature humanity culture mental health service 01 CHANGE
BECAUSE ASIAN ZINE
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because asian. a zine. Chimamanda Adichie Ngozi said “We should all be angry. Anger has a history of bringing about positive change”. This newsprint zine exploring the Asian American experience was created from just that: frustration and a desire for change. Change to how we are seen by others and how we show up for ourselves. Coming from a culture that avoids confrontation—keep your head down, keep your mouth shut—I wanted to surface the varied, complicated, and nuanced perspectives of Asian Americans. Each page tackles different topics from representation to dating, accompanied by interviews of Asians thinking out loud and being brave about things that don’t get aired enough. The zine uses an honest anti-design design language, satirical photography, infographics, and real-life social media posts to make complex information easily digestible. The goal was to start a dialogue. If we don’t speak out, nobody will hear us. Our voice is our change.
Class Visual Systems 2 Semester Fall 2018 Instructor Megumi Kiyama Type Identity Publication Design
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design for diversity inclusion connection nature humanity culture mental health service change 02 DIVERSITY
US ART MUSEUM DIVERSITY
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museum diversity. an infographic. Representation is important—who and what we see (and don’t see) matter. When I interned at a museum, equity and racial diversity was a reoccurring theme. We often asked ourselves: “who do we see working museum frontlines?", "who do we see among senior leadership?”, “who decides what we see?”, and “who are these spaces for?”. I pulled data from a variety of US major art museum studies that audited workforce demographics, artist representation, and audiences. The challenge became conveying complex data in a more digestible, accessible, and interesting way. After 2020’s year of racial reckoning, art institutions around the country have moved to diversify their workforces and collections. It would be beneficial to update this infographic with new data, particularly one that takes a more intersectional perspective and accounts for other identities including class, sexual orientation, and gender identity.
Class Information Design Semester Fall 2020 Instructor Hannah Coward Type Identity Data Visualization
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White W 10.9%
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design for inclusion connection nature humanity culture mental health service change diversity 03 INCLUSION
SQUARE INCLU SIVE DESIGN TOOLKIT
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inclusive design. a toolkit. During my internship at Square, I designed a speculative toolkit for creatives to recognize and interrupt biases. We started with the problem statement: we need an intentional evaluation process to examine our creative work through an Inclusive and Diversity lens. At Square, we design for people first. When we take a more intersectional approach to design, we honor the diversity of Square’s sellers and community. Accomplishing this meant creating a more considered design process where designers can challenge their norms and biases, embrace diversity, and be more human-centric in their communication. Our goal was to create an interactive resource that builds inclusivity into the creative process. This took into consideration diversity, accessibility, and team culture. We designed a toolkit in Figma that included checklists to systematize inclusivity and interactive activities to jump start new ways of thought. Keeping this in Figma meant this can continually evolve to different needs and new research.
Client Square Date Summer 2020 Team Nathan Godding, AD Type Identity Interactive Design
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When we take an intersectional approach to design, we honor the diversity of Square's sellers and community. At Square, we design for people first. We search for barriers to break so everyone can succeed how they want to succeed. Exclusion can happen when we solve problems using our own biases. When we learn to recognize exclusion, we can begin to see where a design or experience that works well for some might have barriers for others. This toolkit is a resource to recognize and interrupt our biases so we can create products for everyone.
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Pick one principle to guide your week. Once it is a daily habit, carry that momentum forward onto another principle. Remember, our journey is ongoing and imperfect.
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solve for one, extend to many
Designing for people with permanent disabilities results in products that benefit people universally. Rate your work using these statements. Challenge your biases by asking a second person to assess.
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design for connection nature humanity culture mental health service change diversity inclusion 04 CONNECTION
H O N E Y H AV E YO U E AT E N Y E T ?
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have you eaten? a cookbook. Designing for a better world does not always have to involve serious world issues. Sometimes, we can just design for our grandmothers. The objective of this project was to design a collector's edition conceptual cookbook. Honey, have you eaten yet? explores the "kooky" side of our grandmothers. The side that hands you peanut-butter, egg sandwiches with the crust lovingly cut off. Read about her vibrant life—from cooking tips you only get from experience to heartwarming stories from her grandchildren—while cooking her eccentric recipes. I designed this book for someone who enjoys the "coffee table book" (aka the book that you buy for reading and aesthetics over actual cooking). To celebrate our head matriarchs and the beauty of age, Honey is designed with vibrant colors, whimsical photography, and 1950s inspired typography. Altogether, they create a playful experience. This is a nod to the poh pohs of the world.
Class Typography 3 Semester Spring 2018 Instructor Ariel Grey Type Identity Publication Design
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design for nature humanity culture mental health service change diversity inclusion connection 0 5 N AT U R E
C O R DYC E P S E X H I B I T I O N
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cordyceps. a study. Disorientation, isolation, decay. These are a few stages in the cordycep fungi's deadly process. But these mental states are not unlike what humans also experience. Hysteria is a fictional exhibition that explores the deadly cordyceps parasite. The parasite famously uses a specific species of ant to complete its life cycle. To live, it zombifies its host draining it of nutrients and hijacking its mind. Those affected that are discovered by ant workers are quickly taken away and dumped from away from the colony to die in isolation. Visuals use a variety of mixed-media—from cut-paper to patterns and original photography—to abstract the natural phenomenon into concepts humans can relate to. Confusion, isolation, and death are not unfamiliar to us. When we design for nature, we can draw inspiration from what it is to be human so that audiences can understand that humans and nature are always intertwined.
Class Graphic Design 1 Semester Fall 2016 Instructor John Nettleton Type Identity Publication Design Photography
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design for humanity culture mental health service change diversity inclusion connection nature 06 HUMANITY
D E YO U N G M U S E U M R E B R A N D
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de young museum. a rebrand. Sanctuary. Place of dialogue. An open space to learn of the past, speak of the present, and shape the future. These are the qualities of an art museum. But that is not always the case. Artist Alfredo Jaar once remarked, “Our little art world is no more than a perfect reflection of the geopolitical reality of the world, and reflects quite perfectly the unbalances that we see everywhere.” From who enters the buildings to what hangs on its walls– how can we see more of ourselves in museums? How can they feel more inviting? This was a challenge I tackled in redesigning San Francisco’s de Young museum. I took inspiration from the museum’s building– its oxidizing facade, windows that reflected the outside environment, and shadows that come and go. And I highlighted the de Young's message of inclusivity and connection. The concept became: no boundaries. Shapes represent the ability to bounce between time periods. Die-cuts make every communication boundless to its surroundings. The identity, just like the de Young museum, invites interaction.
Class Strategies for Branding 2 Semester Spring 2019 Instructor Tom McNulty Type Branding
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design for culture mental health service change diversity inclusion connection nature humanity 07 CONNECTION
FURIOU S MULE HOTEL
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furious mule. a hotel. Commercial work can still have cultural significance. The objective of this project was to design a boutique hotel in Chinatown, San Francisco. To differentiate it from competitors, I drew inspiration from history. Broadway street, the boundary where Chinatown and Little Italy collide, was previously an area of contention. Years ago, most businesses on Broadway were Italian; now they are almost all Chinese. The hotel would pay homage to its roots in both neighborhoods. This concept—the intersection of East and West—became the basis of Furious Mule Hotel. Retro packaging and signage from Chinatown and Little Italy inspired typography and illustration. The hotel name and copy came from nonsensical Chinese to English translations. And finally, a vibrant red paired with muted colors punctuated the retro-inspired brand with a feeling of modernity. Altogether, the brand elements aim to evoke a sense of warm nostalgia and humor for retro San Francisco.
Class Graphic Design 2 Semester Fall 2017 Instructor Beau Monroe Type Branding
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design for mental health service change diversity inclusion connection nature humanity culture 0 8 M E N TA L H E A LT H
CRAFT APP
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craft. a wellness app. If someone were to ask what is important to me, I would answer "mental health." I believe everyone deserves to feel well and access care no matter what their circumstances are. When I entered the creative field, I found myself and other creatives bonding over a shared anxiety that came with our work. Constant creativity and critique is not easy. Through research and interviews, I found that overworking, procrastination, and negative thought patterns were reoccurring issues. I also found that mood deeply affected creativity. Craft is an app designed to help artists take control of their emotions while accomplishing their goals. Users can track their mood, plan projects, and learn mindfulness with exercises curated for artists—from creative meditation to rapid ideation. Visuals were designed with simplicity in mind. I wanted to create a seamless transition between the focused, creative mind and the app. That meant being spacious in my layouts and playful with my colors.
Class Graphic Design 3 Semester Spring 2018 Instructor Paul Derby Type Identity App Design
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design for service change diversity inclusion connection nature humanity culture mental health 09 SERVICE
S Q U A R E P R O F E S S I O N A L S E R V I C E S C A M PA I G N
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dear professionals. a campaign. Dear Professionals, Square is here to help. This campaign was an opportunity to showcase Square as a credible option for Professional Service sellers. We asked ourselves, “how do we meet business goals while still being personal to our audience?” The solution was to lead with a seller-first approach and speak directly to the Professional Services audience about their specific needs and concerns. The strategic message: Square’s open and integrated ecosystem helps sellers manage and grow their business. When we do that for our sellers, they have more time to focus on what matters—their clients. For our photography, we recognized the importance that sellers see (the best version of) themselves and their business. We kept diversity in mind throughout the process—from casting to the imagery we selected in designs. Through our creative, we used containers and expressive layouts to visually tell the story of client and seller coming together.
Client Square Team Michael Arguello, AD James King, Copy Ashley vonClausburg Sophie Chen Sasha Hernandez Type Identity Digital Design Print Design
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thank you
Instructors Beau Monroe, you helped me more than you know. Thank you for generously opening doors for me when entering this field felt impossible ☻ Hannah Coward, Ariel Grey, David Hake, Mary Scott, Megumi Kiyama, Paul Derby, Phil Hamlett, Thomas McNulty, Nathan Godding and the Square team, and the SFMOMA design team. Friends and family Thank you for putting up with all my craziness. Jack I couldn’t have done these last three years without your support. I can’t wait to spend my life with you ♥ Pigpen You’re a cat. But you are the best cat.
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Student Germaine Lau Academy of Art University School of Graphic Design Printing and Binding Blurb Books Text Stock Mohawk Superfine Eggshell Typography Neue Haas Grotesk Contact germainelau@ymail.com www.germainelau.com