Social Design Course by Marta Zofia Ita Myszewska

migrate yadzia williams & adam cooke

E F E

immigrating identities ann bessemans & johan vandebosch

social design marjatta itkonen

host) (ile object(ive)s katerina antonaki rossetos metzitakos children refugees today eleni martini aspasia voudouri

E 1

Refugees – international exhibition

Introduction 5 Map of exhibitions 6 alto University, Helsinki 7 Technological Educational Institute of Athens 7 Gryndŵ r University Wrexham 8 School of Arts Hasselt mad 8 Polish-Japanese Academy of Information Technologies pjatk 9 Gallery 9 Social Design – Marjatta Itkonen 10 pjatk projects 14 Host) (ile – Katerina Antonaki & Rossetos Metzitakos 20 tei projects 24 Object(ive)s – Katerina Antonaki 30 pjatk projects 36 Migrate – Yadzia Williams & Adam Cooke 40 pjatk projects 44 gryndŵr projects 48 Immigrating Identities – Ann Bessemans & Johan Vandebosch 54 pjatk projects 56 Participants 60 Lecturers 61 Editorial 62

to such a sensitive issue and expressed feelings and ideas in such

for regarding the present and the future of Europe. Democracy and

lunatics, provides the only hope for a tolerable co-existence

a creative way. Our profession requires us to be ‘in the first line’

human rights are challenged, we rather not “value” this by numbers

of different ways of life. Slavoj Žižek (philosopher), “What

to distillate data, simplify complex issues, and communicate and

but collaborate, create common solution frames and practices.

our fear of refugees says about Europe”

We “are” our way of life: it is our second nature, which is

It is crucial for the graphic design community and academia

why direct “education” is not able to change it. Something

to get involved with these important issues by raising questions,

This project is a great example as it shows how simple ideas

much more radical is needed, a kind of Brechtian “extrane-

communicating alternative perspectives, generating consciousness,

and the strong will of few individuals may generate inspiration

ation”… – there is nothing natural in the way we embrace

spreading knowledge, facilitating our understanding of the variable

for solution making and provide a strong insight to the problem.

and kiss, in the way we wash ourselves, in the way we behave

parameters of human existence and envisioning radical approaches

It also responds to the prerequisites for successful communication:

while eating… The point is thus not to recognise ourselves in

to socially demanding issues. After all, Europe is about thinking

spread ideas in an effective way. Here, communication requires engagement and deep thinking.

collaboration on multidisciplinary projects and engagement –

strangers, but to recognise a stranger in ourselves – therein

and working collectively, it is about integration of different cultures,

involvement through broad approaches. Students were challenged

resides the innermost dimension of European modernity.

it is about composing and creating, via our differences, new reali-

to broaden their spectrum of thinking through multidisciplinary

The recognition that we are all, each in our own way, weird

ties of inclusion instead of exclusion.

lectures, collaboration, agreement, disagreement, debate and discourse to finally express personal opinions and propose solu-

Katerina Antonaki

tions. After all, social design and visual communication are about challenging the given. It is about facilitating free speech, global welfare, promoting democratic values and the notion of human

Lecturer at TEI of Athens. Graphic designer

itself, towards the “creation” of societies that engage and react to

The best way to learn is by studying together and learning

what is happening in the social sphere. It is important, particular-

from each other. When we initiated this international co-

ly today, that human rights and values are challenged and placed

operative project, we had concerns common to Europeans

into discourses where the graphic design community gets involved

in mind; the rapidly changing landscape in societies, politics

and supports the communication in the public domain effectively.

and people’s attitudes. Students need to be able to have broad understanding in order to communicate visually,

Reflecting on the Refugee project: It all started with a simple skype call and a proposal: why don't

and make information readable to tell stories, to provide

we do a project on the refugee crisis and migration? The reaction

dialogue between people. Students designed and worked

Mass media of all kinds are overloaded with broadcasts, posts,

was direct. Students were great, full of enthusiasm, they worked

both individually and in teams.

and documentaries on the crucial topic of Syrian refugees and

collectively and intensively and came up with unexpected ideas

the devastating visual captures of their cities. This contemporary

and projects worth sharing.

A communal multidisciplinary project and 4 exhibitions.

When I was studying graphic design in Warsaw in the 70’s and finished my diploma at Henryk Tomaszewski’s poster

tragedy composes its own communication territory and visual language. There is a discourse whether this overexposure displaces

This catalogue is conceived to provide a brief overview of the

studio, poster design was considered transcendent in the

reality from something that is happening now to something which

projects emerged after 24 lectures, 7 workshops and the involve-

field. Today, different design fields collaborate and graphic

is happening in a virtual world, and by doing so, smooths the

ment of 65 students from three Art and Design Academies. We

design and visual communication are often about concepts

sharp edges of the problem. Refugees on the one hand become

welcome the exhibition in Athens, showing a collection of the

or providing digital services. But design is also art.

visual information and on the other data. We monitor the situa-

outcomes of those multiple workshops. Again, the semiotics are

tion but we forget that we refer to human lives.

strong. It is important that the series of exhibitions starts in

What could be more rewarding than international art

Athens, Greece at a specific historical moment when the refugee

institutions and students working together? The following

crisis is at its peak.

pages show the results of our workshops held in different

I live in the centre of Athens where the scene changes radically

parts of Europe.

on a daily basis due to the refugee crisis. Quite often I have the feeling that we are experiencing history without being able to

Hopefully it will open discourse for further approaches. I am proud

react. It is important that through this project both the academic

being part of this project. We invite you all, both to enjoy the

Thank you all participants: lecturers, tutors and most

institutions and the graphic design community reacted quickly

students’ work and to open a discussion over what design stands

of all students!

Marjatta Itkonen Professor emerita Aalto University Graphic designer

Europe

aalto University, Helsinki

Technological Educational Institute tei of Athens

Another Perspective

The Department of Graphic Design has operated since 1977

Aalto University is one of the most prestigious international

under the Faculty of Fine Arts and Design. Constituting

universities of art, design and architecture in the world. Key

the only public School of Applied Arts of Higher Education

areas of research are design, digital media, audiovisual re-

in Greece together with the Departments of Graphic Arts

presentation, art, visual culture, well-being architecture and

Technology, Interior Architecture Decoration & Design,

emerging technologies, as well as urban planning and design.

Photography & Audio-Visual Media and Antiquities & Works of Art Conservation, the Faculty is one of five which form

The School of Arts, Design and Architecture is part of Aalto

the Technological Educational Institute tei of Athens.

University, where the integration of expertise of different

aalto,

Helsinki

fields brings along new opportunities: it is possible to design

The Faculty of Fine Arts and Design is an integral educational

cross-disciplinary study modules that support one's career

unit and its aim is to promote cultural and artistic innovation.

goals and interests. The schoolâ&#x20AC;&#x2122;s history dates back to 1871.

Its prominent presence in the Applied Arts field is widely acknowledged by other professional, educational and artistic bodies throughout the country. The Department educates creative new professionals offering a comprehensive artistic and technical background that will prepare them to meet the needs of an ever-expanding field from graphic communication, advertising and consumer product design, to the field of prin-

GryndĹľr University, Wrexham mad,

pjait,

Warsaw

ted and digital publishing. During their courses the students are exposed to different approaches and concepts, and they are

Hasselt

encouraged to develop a sound artistic and aesthetic sensibility, that will enable them to successfully face the social challenges and responsibilities encountered in their professional life. The Department offers students support in their development of visual communication awareness, inspires a creative aptitude in design, provides a skilled approach to problemtei

of Athens

-solving and cultivates a comprehensive understanding of the rapid technological advances in their field. During the eight semesters of study, the primary objective of the curriculum is to guide the students in quickly developing their technical skills and expanding their knowledge of visual communication with a series of prerequisite and elective courses, cul-

name of the school, city

minating in a final graduation project and a six-month work experience placement.

Polish-Japanese Academy of Information Technology pjatk

Greek Graphic Designers’ Association GGDA

PXL-MAD (Media, Arts and Design) School of Art is a

The Polish-Japanese Academy of Information Technology

The GGDA was founded in 1983 and is the national

2008... or 1887, if you trace back through our history. We’re

department of the University College PXL that offers study

was founded in 1994, based on the agreement between the

association for professional graphic designers.

still in the same area where the institution, now a university,

programs in the field of ‘Visual Arts’ on the academic bach-

governments of Poland and Japan. Its teaching program has

was founded as an education college more than 100 years

elor and master degree level with specialisations in graphic

been systematically adapted to the needs of the interna-

The GGDA provides an advisory and arbitrating role

ago. The campus today is a mix of that time but with a

design, fine arts and Object & Jewellery.

tional labor market and EU teaching standards, as well as

for its member designers by informing its members

to the development in the field of graphic design. The New

of developments in the field of Graphic Design and

In its curriculum, the Graphic Design department at PXL-MAD

Media Arts Department, launched in 2005, has worked

by coordinating the efforts of all graphic designers

in Hasselt (Belgium) offers a specialisation in typography,

for the development of education and science, in cooper-

in order to facilitate the advancement of the graphic

in a cluster named ‘TYPO’. Starting next academic year, an

ation with the Academy of Fine Arts in Warsaw and other

design profession in Greece. It provides a forum for di-

Gryndŵ r University is at the centre of life in Wrexham

international master in typography will be offered in addi-

institutions of science and culture in its direct surroundings

alogue and exchange of ideas and information on issues

and we pride ourselves on our links with the community

tion to the standard curriculum. This cluster and master are

(National Audio-visual Institute, Copernicus Science Center

related to communication design, and offers advice and

through facilities and partnerships with organisations

led by dr. Ann Bessemans, who also founded the typo-

and Warsaw museums, like the National Museum). The

support in matters pertaining to fees, ethical practice,

in North Wales.

graphic research group within PXL-MAD called READSEARCH.

New Media Arts Department offers BA and MA studies in

Focussing on reading research, this group looks at type

Graphic design, as well as a ba studies in Interior Design

the association is the General Assembly, which decides

Courses

design and/or typography from a multidisciplinary and

and Multimedia Communication Design. Students of the

on all matters pertaining to the advancement of the

Ba (Hons)

scientific perspective, but always with a practical attitude.

English-language program studies of this discipline acquire

association’s goals, as well as every issue submitted

Animation, Visual Effects & Game Art

The artistic practice develops in dialogue whit experimental

knowledge and skills in shaping multimedia information,

to it. The GGDA is ruled by a nine-member Executive

Applied Arts

and theoretically-founded research. READSEARCH provides a

adapted to the needs of the contemporary international

Board, which is elected every two years.

Film & Photography

unique environment that brings together design researchers,

user, by means of new computer technologies; as well, they

Fine Art

typeface designers, scientists, students and stakeholders

become aware of traditional artistic and aesthetic values.

The GGDA welcomes the effort of art and design Academies

Graphic Design & Multimedia

through research, courses and documentation.

At the same time, regular contact with Japanese culture and

for international and multicultural projects and supports

Illustration, Graphic Novels & Children’s Publishing

art, and the international educational exchange programs,

specifically social design projects related to crucial issues

Ma Masters

provide students with access to state-of-the-art knowledge

such as the current refugee crisis. But most important,

Art Practice, Design Practice & Creative Media

and high technologies, modern tools and design methods,

ggda supports and promotes young designers' practice

and allow them to achieve competence in social interaction.

and their involvement in collaborative projects whit our

Gryndŵ r University Wrexham

Media, Arts and Design in Hasselt mad

Our biggest campus and Gryndŵ r University started in

modern twist – Grade II listed buildings now standing alongside 21st century facilities and state-of-the-art education centres.

community.

design

Marjatta Itkonen warsaw

pjatk

– helsinki

a alto

Marjatta Itkonen, born in Helsinki, Finland. Education:

The title immigrants and refugees, women

looking for is meaning and significance, then

course was to study how to communicate

Academy of Fine Arts in Warsaw, Master of Arts, Henryk

and children for the social design course was

the first step is to ask, who controls the work

to different audiences, how to design a social

Tomaszewski’s poster studio, 1976. Designer & partner, Studio

aroused through my research. I got the idea

and whose ends does it serve? Social design

campaign and visual communication of

Viiva, 1982–2010. Professor of graphic design, Aalto University,

after reading an article about a female Iranian

is inspired by Victor Papanek’s idea that

importance on a national level. Our task

School of Arts, Design and Architecture, 2002–2014.

immigrant who faced many challenges in

designers have a responsibility to change the

was to create dialogue between locals and

Exhibitions: Finland, Poland, Russia, Mexico, Slovenia, Korea.

integrating into Polish society. The course and

world through good design. He was one of

refugees in Poland, to get to know each other

Workshops & lectures: France, Belgium, Poland, Germany,

workshops were planned for the 2015–16 win-

my heroes when I grew up in Finland in the

better to avoid fear. Fear is creating racism.

Slovenia, Czech Republic, USA, Mexico, China. Real life

ter and spring semesters. At that time, nobody

70's. Graphic designers create a visual culture

I also wanted us to get to know other cultures

projects with students: Common responsibility campaigns,

could foresee how the situation would pro-

that makes ideas and information accessible

with a positive twist; we had a wonderful food

Blue1 airplanes, Hello and goodbye Nokia book, Resolutions

gress in Europe. In the autumn, confrontation

and through visual communication we con-

workshop called bread and memories with

book project, Unicef International students’ poster exhi-

sharpened in most European countries because

tribute to social well-being and justice. The

students and immigrant women. Thank you

bition. Juror: Mexico International Poster Biennale, Warsaw

of the refugee crisis. The topic became relevant

amount of information is greater than ever

Satsita from Chechnya, Mieber from Nigeria

International Poster Biennial, Best Annual Reports in Finland, Best

and media coverage was extensive; horrible

and visual communication is the tool to make

and Vinh Cao Hong from Vietnam! You made

Finnish film posters, among many others.

events on the Aegean Sea between Greece and

that information understandable and arouse

our day a memorable occasion.

Turkey came into our homes showing people

discussion in society. Fear is provoking racism

drowning. Students were also shocked by the

and an open dialogue is needed.

terrorist attack in Paris.

Thank you Jan, Anil, Katarzyna and Mariia for your Sweet home? mobile refugee camp

We organized many inspiring lectures during

management game! Thank you Natalia,

In 1994, Andrew Howard wrote in Eye maga-

one whole week in order to give students as

Maciej, Adela and Livia for your campaign

zine that We cannot separate our work from

many points of view as possible. After the

proposal Pocisk – I will never forget that day!

the social context in which it is received

lectures, students applied creative design

Thank you Julian, Marta, Małgorzata and Julia

and from the purpose it serves. If we care

proposals in various formats and they were

for your game concept. Thank you Zuzanna,

about the integrity of our design decisions,

asked to work in teams. Four teams provided

Joseph, Krystyna and Mateusz for you Live

we should be concerned that the relations

research, analyzed the information, creat-

movement dance concept! I had a great time

implicit in our communications extend active

ed communication concepts and produced

working and learning with you in Warsaw.

participation in our culture. If what we are

campaign proposals. The objective of this

Liwia Furga Natalia Łajszczak Adela Madej Maciej Połczyński

The aim of the project is to create – through the web platform – a community of people who experienced migration. We want to show that the phenomenon of migration is universal and it may concern people from different backgrounds. The name of the project (Przejścia graniczne – borders checkpoint) no I refers both to the physical and psychological aspects of crossing borders.

Sweet Home? is a fundraising campaign built around a mobile refugee camp management game. The aim is to help refugees who are placed in camps in neighboring countries of Syria. In this world filled with smart devices people spend more real life resources on their non-existent garden in a digital world than they do on their relationships and world around them. The reality of today is that we do not even care for our neighbour next door, so it is no surprise if we are not sensitive to terrible things happening in a far away country. Sweet Home? is another response to this problem, it may not be an absolute solution but it is a solid step. Mobile gamers all around the world from every age group will be growing their own “garden” which in this case is a refuAnil Demir Mariia Kozhukhar Katarzyna Płocińska Jan Szczepanik-Dzikowski

gee camp, while we will use the monetization techniques like advertisement or in-game purchases to help to solve real problems of real people.

Three plagues, three contagions, threaten the world. The first is the plague of nationalism. The second is the plague of racism. The third is the plague of religious fundamentalism. All three share one trait, a common denominator - an agressive, all-powerful, total irrationality. Anyone stricken with one of these plagues is beyond reason. In his head burns a sacred pyre that awaits only its sacrificial victims. Every attempt to calm conversation will fail. Ryszard Kapuściński, 1993

The concept is based on body language. We connected dance, sound and typography in order to comment on the issue of refugees and migrants and raise awareness among Polish people. We used Ryszard Kapuściński’s wise words from Imperium which refer to current migration movements.

Zuzanna Zielińska Joseph Fakhoury Mateusz Nowak Krystyna Engelmayer-Urbańska

Katerina Antonaki & Rossetos Metzitakos warsaw

pjatk

–

tei

ile

city and/or home, connect them to an issue related with the refugees crisis (i.e. history of immigration, notion of dislocation, uprooting, formation of new communities, mobility real or imaginative, threats to survival, causes of migration, notions of home, ethical issues involved) and explain their concept using a short text (a poem, an article, their personal opinion, sayings of refugees). Based on the ideas of lost and found, message in a bottle, this photograph is a proof, students were asked to index their thoughts and choose one on which they would work thoroughly and design a book spread. After choosing the object, they wrote a short

of athens

text explaining their idea. The students were also responsible for designing the book with Designing a book based on a collection of

the outcomes of the workshop: think of its title,

Katerina Antonaki is an independent graphic designer,

Rossetos Metzitakos, born in Athens in January 1974.

researcher and visiting tutor at Graphic Design Department,

He graduated from the Graphic Design Department of the

objects. Empirical investigation through making

create meaningful concepts collectively, work

Technological Educational Institute of Athens. Throughout

Athens TEI Faculty in 1996, then S.G.T.K.S, today S.K.S School

semantic connections. A displacement from

with texts and images. By working both individ-

the years she has worked in advertising and design industry

of Art and Science. Rossetos Metzitakos holds Master of

theory to real objects. Using objects to simplify

ually and in teams to produce the final design,

and has collaborated with a variety of teams and individuals

Arts in Visual Communication from in U.C.E. Birmingham

complex social issues.

they were able to, within a short time, analyse

on diverse projects from brand identity, book design, to

University of Central England since 1998, and doctorate from

environmental design. Currently she is interested in the role of

the same university and major in “Visual Communication

Humans 'understand' life through its materiality,

the 5 days of the workshops, they managed to

visual communication in building brand identities and she is

and Interactive Media” since 2006. Thesis “Design of

through the physical space, its apparatus and

identify strong meanings and create powerful

investigating the links and the interferences between graphic

Interactive Media for People with Low Vision, as part of

the semantic connections they make. Based on

compositions.

design and urban space. She also explores the active role of

Graphic Design”. Research associate in the department

this simple thought, we could bring to con-

Graphic Design (the visual and textual aspects of communi-

of Graphic Design since 2001 and appointed in the same

sciousness and comprehend complex issues

The final step included the design of posters,

cation) at the social and political level. Her research interests

section in 2009 in vacant organic Teaching Faculty Position

more easily; such as the refugee crisis through

based on the ideas from the spreads, for the

focus on the visual identity of public space, the role of spon-

as Assistant Professor with discipline in Graphic Design with

objects. The experiment was simple: What if

exhibition.

taneity in design process as well as design methodologies and

Multimedia. At present, he is Director of Graphic Design

we try to re-locate the refugee topic in physical

mapping. She holds an ma in Critical theory and practice of

section. He has carried out many graduate projects mostly in

space? The main instruction was the following:

Special thanks to Aspasia Barda and Christos

Design from Goldsmiths University of London.

graphic design and multimedia topics.

Try to find an ordinary object and link it in such

Makopoulos for their help with the photo

a way with the refugee crisis that next time I

shooting. I also thank all the students of the two

see it, it will remind me of your idea. Students

workshops for the great collaboration and the

were asked, after reflecting on the lectures, their

unexpected ideas.

a crucial social issue and reflect upon it. During

personal research and after a discussion in the classroom, to collect ordinary objects from the

It was a pleasure to work with you. Thank you!

I am a refugee The forced dissociation of a person from his homeland and the consolidation in one place, to create new life, relationships and ties.

I am a refugee – Elpida Koulouridi Without keys – Dionysios Siamagkas The Path – Panagiotis Tsironis

No Exit – Nefeli Orfanou-Negka Home sweet home – Maria Bougioukou Who's next in line? – Eleni Anysia Moustaka Golden water – Marianna Koulouridi

s ) e v i ( t c e bj

s ugee f e r and ants r g i m SE on im OUR C N G D E S I / P J AT K L A I S O C AW 2 01 5 S WA R

Eλλἀδα

C hildhood Anastasia Buialo

Jus t Write Huber t Wencel

Two S ides Katar z yna Mazek

R un Daria Lukasz ynska

Tradition Jakub Wilczak

Hospitalit y Michal Mier zejewsk i

Wate r Bar tek Staszczak

The D ragon Anna Chr zanowska

W ide r S e e ing Magdalena Wawr zonek

Trave l Mar ta Dziedzic

S hoe Aleksandra Leksz ycka

Now Agata Juszk iewicz

We lcome (NOT ) Aleksandra Walent ynowicz

Attitude Aleksandra Czarnojan

Hanger Julia Piasecka

Immigrant Song Arseniy B rilov

Pe rception Wojtek Pludowsk i

Eλλἀδα

s ) e v s i ) ( e t v c i ( oobbje ject es fuge ees e r d an ug ants s and ref r g i m E nt o n i m i m m i g r a N C O U R SR S E on K S I G NP JCAOTU L D E E1S5I G / A TK I A C J L 2D0 1 5 / P S O CAI A W SO R S AW 2 0 WA S WA R

C hildho o d Anas tasia Buialo C hildhoo AnasLukasz tasia Buialo Run d Daria ynska

R u n Daria Wate rLukasz B ar tekynska Staszczak WateTrave r B ar tek Staszczak l Mar ta Dzie dzic

Jus t Write Hub er t Wencel Jus Tradition t Write Hub er t Wencel Jakub Wilc zak Tradition Jakub Wilczak The D rago n An na Ch r zanowska

TheS D An na Chr zanowska horagon e Aleksandra Leksz ycka e Aleksandra Leksz ycka TraveWe l Mar Aleksandra Czarnojan lco ta meDziedzic (NOT ) Aleksandra Walent ynowic z S hoAttitude Attitude Aleksandra We lcome (NOT Pe rception WojtekCzarnojan Pludowsk i I mmig rant ) SAleksandra o ng ArseniyWalent B rilov ynowic z I mmigrant S ong Arseniy B rilov

Pe rception Wojtek Pludowsk i

Two S ide s Katar z yna Mazek Two ide s Katar z ynaMier Mazek HosSpitalit y Michal zejewsk i Hos pitalit Michal Mier zejewsk W ide r S eye ing Magdalena Wawrizonek

W Now ide r SAgata e e ingJuszk Magdalena iewic z Wawr zonek Now Agata Juszk iewic z Hanger Julia Piasecka Hanger Julia Piase cka

Before Before Before Before

he he he he

Now Now Now Now

has nothing. is nowhere. has no one. is no one.

had was had was

something. somewhere. someone. someone.

HE IS A BAKER SHE IS A STUDENT HE IS A TAXI DRIVER SHE IS A DESIGNER HE IS A SOLDIER SHE IS A HOUSEWIFE HE IS A FATHER SHE IS A MOTHER HE IS THEIR SON SHE IS A REFUGEE HE IS A REFUGEE

he he he he

Now he is a refugee.

Run – Daria Łukaszyńska Now – Agata Juszkiewicz Screw – Aleksandra Czarnojan

Childhood – Anastasia Buialo Travel – Marta Dziedzic Hang on – Julia Piasecka

i grate

Yadzia Williams & Adam Cooke warsaw

pjatk

– helsinki

a alto

Yadzia Williams is Senior Lecturer at the North Wales School

Adam Cooke studied Fine Art at UCA, University for the

The theme of this workshop is migrate. Students

1. Somewhere in the college;

of Art and Design, Glyndŵ r University in North Wales.

Creative Arts, and completed his Masters in Interactive

must include the word migrate in their final im-

2. Outside of the college; 3. On-line via tumblr.

She was born in a Polish Camp in North Wales to Polish and

Multimedia Arts at John Moores University, Liverpool.

age, in any language they choose. The theme

Czech immigrants. Yadzia is an Illustrator and image maker

He is currently Senior Lecturer in Design Communication

is open to interpretation. The end result must

working mainly through the medium of printmaking with

at North Wales School of Art & Design. His research ex-

communicate to an international audience.

These sites should be active spaces and

a passion for creating handmade books.

plores open technologies in a community context. Adam has

Students are introduced to the five point design

the images should rotate on a weekly basis.

worked for a diverse range of clients from across the public

process to follow for this project.

The typeface to be used is Activ by Daalton Mag. Students read about their trial license

and private sector. From interactive installations for the BBC to service design solutions for Jaguar Land Rover to public

Limitations: Students investigate the possibilities

offer for students and academic work be-

sector clients such as North Wales Police (Community

of image making (poster design). They are lim-

low (https://www.daltonmag.com/download/

Cohesion and Engagement) and Wrexham Borough

ited to one typeface (thay can use any weights

damaTrialLicenceAgreement.pdf.0)

Council’s Housing Division.

they wish). The size of the image (poster) they produce is 90×60 cm; portrait. Students can

The project is 5 days long. By the end of Day 3

print only black/white and grey tones.

we should have ideas finalized and have a crit. Day 4 we should have the artwork finished and

Students aim to produce three images that will

printed for a final crit. On Day 5, for the final

be displayed in various environments. They can

crit, the images can be printed 45×30 cm.

be individual ideas or work as a triptych.

Fish – Aleksandra Miąskiewicz Migrate – Maja Biskupska Hang on – Julia Piasecka Migrating Ants – Minh Ha Arrows – Aleksandra Miąskiewicz

IGR IGIGRATEMIGRATEMIGRAT AT RA EM TE IG MI MIGRATEMIGRATEMIGRAT

GR GRATEMIGRATEMIGRATE RA AT TE EM MIG IG MIGRATEMIGRA IGRATE

MIGRATEMIGRATEMIGRATE

IGRATEMIGRATE GRAT

MIGRATEMIGRATEMIGRATEM

Monkeys â&#x20AC;&#x201C; Olga Kulish

Migrate â&#x20AC;&#x201C; Megan Roberts

Migrate – Ivana Milchanska & Sam Keating Migrate – Carrie-Anne Migrate Migrate – Rosie Haghighi Migrate – Jane Thomas Migrate – Mariusz Borzyszkowski

Migrate â&#x20AC;&#x201C; Sandra Chmielewska

immigrating

Ann Bessemans & Johan Vandebosch warsaw

pjatk

–

mad

Ann Bessemans has an ma in graphic design, receiving an

words, a Guinness World Record. She has designed several

With the typographic workshop Immigrating

award for her typographic project. In October 2012, she de-

books for the series of monographs Vlees & Beton/Voids

Identities, Ann Bessemans and Johan Vandebosch

fended her PhD (Type Design for Children with Low Vision),

& Borders published by the department of Architecture and

(pxl-mad) collaborated in the Social Design Course

under the supervision of Prof. Dr. Gerard Unger. For this PhD,

Urban Planning of the University of Ghent and posters for

at the Polish Japanese Academy of Information

she was granted two scholarships by Microsoft. She works as

the tennis club tc de Born. Her research/design interests:

Technologies in Warsaw, curated by Ewa Satalecka.

a postdoctoral researcher at pxl-mad (Media Arts & Design),

typography, type design, legibility, reading, graphic design,

Immigrating Identities was a workshop where the

where she also teaches (since 2006) graphic design, typo and

book design, letter press and modular systems.

experience and influence of refugees and immi-

Johan Vandebosch (born 1966) studied Graphic Design at

aimed at changing people's point of view about

on visual prosody. Ann was a finalist in the ‘New Scientist

the PXL-MAD in Hasselt. After an internship at the adver-

immigration.

Wetenschapstalent 2015’ competition, which recognises early

tising agency Conquest Europe / Fast in Brussels, he joined

grants is visualised in typographic matter, and

type design. Recently she was awarded a major grant from Microsoft Advanced Reading Technologies usa for a project

career researchers in the sciences. Recently Ann set up a

the graphic studio of the faculty of Architecture at the

research Institute called readsearch (pxl-mad). readsearch

University of Hasselt. In 1994 he started his own graphic

Starting from Latin lowercase letters, firstly stencils

focuses on reading research. Type design and/or typography

studio ‘ziezo’, where he designed, for over twenty years,

were created, and then the students were asked

is looked at from a multidisciplinary and scientific perspec-

the visual communications for the cultural centre de velinx

to enrich the stencils with letters characteristic of

tive, but always with a practical attitude. The research topics

in Tongeren and where he worked with national and inter-

Non-Latin script, thus creating new hybrids. In this

are: Rhythm and Legibility/Reading Comfort (with assistance

national artists from various disciplines. He designed the

way, two different cultures visually interacted with

and PhD student Maarten Renckens), Visual Prosody (with

identities for numerous companies and institutes such as

each other. During the third phase, posters were

Microsoft usa Advanced Reading Technologies + assistance

the fashion label les hommes and mad-faculty, as well as

designed with the stencils and the students had

and PhD student Kevin Bormans), Regularity/Distinctiveness

books for publishers Lannoo and Borgerhoff & Lamberigts.

to translate, in an abstract manner, the immigra-

in letters (with Reading University), Details in Letters (with

Since 2001 Johan is part of Design Flanders, an organization

tion/refugee routes. In the final phase students

Gerard Unger). Ann is also involved in European cost Action

of the Flemish Governement who promotes contemporary,

were asked to design a flag, using a transnational

that studies the evolution of reading in the age Of digitisation.

high-quality and innovative design. In 2009 he received

language with parts of their stencils, as a powerful

She has presented papers and gave workshops on several

the Plantin-Moretus Prize for the best designed book in

symbol of new and blended identities.

occasions both in Belgium and abroad. Beside her task as

Flanders in the category children books. In 2008 and 2009

a teacher and design researcher Ann is (since 2013) also

Johan was nominated twice for the ‘Cobra Power of Print’ for

This workshop enhanced the typographic design

an independent designer. She is an award winning (typo)

his designs for the cultural centre de velinx. Johan regularly

skills and wanted to increase the students’ confi-

graphic designer. From the tdc she received a Certificate

participates in solo and group exhibitions in Belgium and abroad.

dence in typography beyond their expectation.

of Typographic Excellence. In 2014 she designed a postage

Since 2000 he teaches Graphic Design at the pxl-mad School of

stamp for the Belgian postal company that contained 606

Arts in Hasselt.

1. Kasia Mazek, Aleksandra Lekszycka, Bartek Staszczak, Hubert Wencel 2. Anastasia Buialo 3. MichaĹ&#x201A; Mierzejewski, Jakub Wilczak, Ĺ ukasz Zubilewicz

Lecturers

students PJAIT Adela Madej

Ivan Kosenko

Marta Myszewska

Agata Juszkiewicz

Jan Szczepanik-Dzikowski

Martyna Byrka

Aleksandra Czarnojan

Joseph Fakhoury

Mateusz Nowak

Aleksandra Miaskiewicz

Julia Chlastacz

Małgorzata Pisarska

Aleksandra Walentynowicz

Julian Kondej

Michał Mierzejewski

Anastasiia Buialo

Julia Piasecka

Minh Ha

Ania Fifielska

Julia Potocka

Natalia Padzińska

Anil Demir

Katarzyna Płocińska,

Natalia Łajszczak

Anna Chrzanowska

Krystyna Engelmayer-Urbańska

Nikita Osadchuk

Anna Martowska

Liwia Furga

Nina Krol

Arina Sizova

Maciej Połczyński

Olga Kulish

Bartek Staszczak

Magdalena Wawrzonek

Zuzanna Zielińska

Daria Łukaszyńska

Maja Biskupska

Hai Duong Minh

Mariia Kazhukhar

Hubert Wencel

Marta Dziedzic

Adam Cooke Agata Szydlowska Ann Bessemans Aspasia Voudouri David Skully Eleni Martini Elżbieta Kielak Johan Vandebosh Kasia Jarecka Katerina Antonaki Krzysztof Dębski Łukasz Turkowski Maja Łysienia Marcin Drabek Mariela Nestora Marjatta Itkonen Marta Rawłuszko Martyna Wawrowska

TEI of Athens

Wrexham

Alberto Martinez

Carrie-Anne Migrate

Angelina Mertziou

Ivana Milchanska

Anthi Tsiouri

Jane Thomas

Chrysoula-Nefeli Kourkoulou

Mariusz Borzyszkowski

Dionysios Siamagkas

Megan Roberts

Eleni-Anysia Moustaka

Rosie Haghighi

Elpida Koulouridi

Sam Keating

Laredina Karaj

Sandra Chmielewska

Marysia Złonkiewicz Monika RogowskaStangret Pawel Polit Rossetos Metzitakos Tomasz Duda Yadzia Williams

Mariela Nestora choreographer,

Special thanks to:

founder of yelp danceco

Omoye Akhagba

Assuming that dance is every

Satsita Khumaidova

movement, our aim is to inves-

Vinh Cao Hong

tigate physical languages that

Klaudiusz Ślusarczyk

arise from the corporeal and the intellectual- reflecting on the world that surrounds us, raising questions concerning our culture and our relationship to it. The work lies between theatre, dance and performance, while it extends into video installation

Thank you Anastasiia Buialo, Julia Piasecka, Aggelina Mertziou, Eleni Moustaka and Dionysis Siamagas for the editorial design.

and site-specific work. Work is shown in a variety of contexts, ranging from theatres, to empty buildings, foyers and public spaces. We are committed to working in a collaborative manner, the group equally involved in the creative process. Presenting, transforming and discussing the (im)possibilities of sustaining our humanity in our nature. Mariela studied contemporary dance and choreography at the London Contemporary Dance School

Maria Bougioukou Marianna Koulouridi

and Visual Design for Dance at

Nefeli Orfanou-Negka

the Laban Centre, London. She

Panagiota Prokopiou

is also a Feldenkrais practitioner.

Panagiotis Tsironis Spyros Chandrinos Stefani Constantinou

Migrate – Adam Cooke

PROJECT CREDITS Organizers / Publishers: AALTO

Curators:

Marcin Czerniawski

Directors:

Ewa Satalecka

Marjatta Itkonen

GGDA: Tzanetos Petropouleas

Aalto University

Katerina Antonaki

Marry Kozhukhar

Wrexham gallery: Estelle Thompson

Lämpömiehenkuja 2,

Rossetos Metzitakos

Olesia Pankiv

+358 947001 Finland

Eleni Martini Aspasia Voudouri

Web publication

TEI of Athens

Marjatta Itkonen

Marta Myszewska

Department of Graphic Design

Yadzia Williams

Agiou Spiridonos str.

Adam Cooke

12243 Aigaleo +30 2105385403 Greece

CATALOGUE CREDITS Editor:

Wrexham Glyndŵ r University Mold Rd, Wrexham LL11 2AW, Great Britain +44 1978290666

Ewa Satalecka

(poster design, design and project

Proofreading

management of promotional material)

Alicja Gorgoń

Athens: Aggelina Mertziou, Dionisis Siamagkas,

Beata Czajkowska

Eleni Moustaka, Maria Bougioukou set in:

David Skully

Ubuntu – Dalton Maag

Book Print

Wrexham: Yadzia Williams, Adam Cooke

Petit Skład – Druk – Oprawa

Warsaw: Marta Myszewska

Marta Myszewska

ul. Tokarska 13 20-210 Lublin

Katerina Antonaki Adam Cooke

Media, Arts & Design

Exhibition designers:

Editorial coordinators:

PXL-MAD Elfde-Liniestraat 25

Studio Sztuki: Agata Cholewińska-Romero znaczy się Foundation: Beata Czajkowska

Paper Blue Book 60 vol 1.5

Publication manager: Marta Myszewska

set in: Lato – Łukasz Dziedzic

ISSUE 500 copies Warsaw/Wrexham/Athens, 2016

DANCE WORKSHOP Director: Mariela Nestora (YELP danceco)

Project Designers:

EXHIBITION CREDITS Exhibitions:

visual identity

12th–15th May 2016 Athens, Romantso

author: Maria Peszek

prints design,

July/September 2016 Wrexham

Polska ABC i D (Poland ABC and D)

Polish-Japanese Academy

layout, typesetting

10th–13th November 2016 Warsaw PJAIt,

album: Karabin 2016

of Information Technologies

Marta Myszewska

Studio Sztuki 18th–24th November 2016 Cracow,

greek translation: Vassiliki Dimou

02-008 Warsaw

layout sketches

znaczy się Foundation

english translation: Ewa Satalecka, Beata Czajkowska

Poland

Liwia Furga

Exhibition coordinators:

Video clip:

B-3500 Hasselt Belgium

pjait

ul. Koszykowa 86

Music:

Print:

Set in

Katerina Antonaki

art direction, typesetting,

ISBN: 978-83-63103-83-5

Szymborska typeface – Radosław Łukasiewicz

Marta Myszewska

graphic design:

ISBN E-Book: 978-83-63103-84-2

(courtesy of znaczy się Foundation)

Adam Cooke

Aggelina Mertziou,

Museo font – Jos Buivenga

Project:

Dionisis Siamagkas,

Curators:

Eleni Moustaka,

Social Design Course

Photos

Athens: Katerina Antonaki,

Maria Bougioukou

workshops

Anastasia Buialo

Wrexham: Estelle Thompson

Warsaw/Wrexham/Athens

Ewa Satalecka

Warsaw: Marta Myszewska

19.10.2015 – 15.05.2016

Katerina Antonaki

Cracow: Beata Czajkowska

idea of dance workshop: Mateusz Nowak