Gender Inequality & The Role of Women Within Graphic Design
Rachel Irwin ITC Report
Gender inequality & the role of women within graphic design.
This report is investigating the reasons why there is a lack of recognition of female graphic designers in the UK, also exploring if there is a shift occurring as more women graduate in graphic design.
Contents 2
Women & the Workplace
6
The Graphic Design Workplace
10
Women in Mangerial Roles
14
Lack of Confidence
16
History of Women in Graphic Design
20
Recognition Within the Industry
26
Education and Role Models
30
The Changing Demographic
34
The Future
37
Appendix
29
Bibliography
‘Women in full-time work in the UK are paid, on average, 17.2 per cent less than men.’ Times Online
Women & the Workplace
It is important to understand the role of women in the workplace as a general grounding before focusing on the role of women in graphic design, along with the phenomenon of the 20th and 21st century of women having careers and working in the same jobs as men. Despite the Equal Pay Act of 1970 ‘women in full-time work in the UK are paid, on average, 17.2 per cent less than men.’ (Times Online, 2008) This problem occurs across all careers, and is often blamed on the fact that two thirds of women take a career break at some point in their life, often to raise a family. Some would argue that this penalty against those who choose to have children leaves women at a disadvantage and is not due to free choice, but rather that women are forced to take on part time, low paid jobs once they have a family, especially since the role of parental care traditionally fall upon the mother.
2
But the 2003 legislation about flexitime, which
but I want it part-time.’ (Scher, 1993)
gives parents with children in the UK the right
It seems as if women in general tend to lack
to request flexible working arrangements from
confidence more than their male counterparts.
their employer (Direct.gov, 2009), has caused
They are less likely to ask for more money or a
people to question why some employees would
promotion;
find working mothers an attractive option. As
‘Women are not always paid as much as men.
handbag designer Anya Hindmarch said ‘If we
Sometimes the cause falls at the feet of the
are not careful (and I speak as a mother and
women. They simply do not ask for as much
an employer), maternity leave and benefits will
money. This may be caused by a lack of security
become too biased towards the mother and
or lack of aggressive negotiation skills.’ (Goldfarb,
not considerate enough for the employer. In
2002, P.150-1)
which case, it can start to work against women as it becomes too complicated and expensive
It seems women are getting to a certain stage
to employ them. To me, it shouts of shooting
in their career and then realising they have to
ourselves in the foot.’ (Shulman, 2009). It seems
make a choice; between choosing to have the
very hard to get the balance right, so that the
top job or having a family life, and most women
system is fair towards mothers and to employers.
end up picking the latter. Some women see the
Others argue that women have put up with
opportunity to start a family as a chance to
inconvenience of inflexible working for too long
remember they can work to live instead of living
and that it is time for change, Paula Scher said
to work.
in the early 1990’s ‘for too long women have been trading down skills for flexibility, and have
In this way women have an opportunity that
been willing to take on jobs for which they are
men aren’t given, while it is socially acceptable
overqualified and paid less. They’ve not had the
for a women to take a career break to bring
confidence to say I want the same job as before
up children, unfortunately for most men it just
3
‘Women are not always paid as much as men. Sometimes the cause falls at the feet of the women. They simply do not ask for as much money.’ Roz Goldfarb
isn’t deemed professional to take months off for
Unfortunately this equality in parenting is not
paternity leave. Research shows that half of all
reflected in business, with Scandinavian countries
new fathers don’t take the two weeks paternity
having between only 27.7- 31.6% of managers
leave they are entitled to, and 40% do not ask
who are women. Compared to the US, with
for flexible working hours because they believe
42.7%, Australia with 37.1% and the UK with
it could jeopardise their job prospects (Bennett,
34.4%, all of which have shorter paid maternity
R, 2009). This differs to the more progressive
leave than the Nordic countries or nothing at all.
Scandinavian approach, they have some of the
(Ellicott, C, 2009)
most generous paternity and maternity rights. For example; Icelandic parents can take nine months of paid leave for childcare: three for the mother, three for the father and the rest divided up by couples as they see fit. Alternatively, consider the situation in Denmark, where new parents can share one year of paid leave. (Aurora, 2007)
4
‘This is not a women’s issue. It is a design issue. The need for flexible work schedules, family leave and feasible childcare, affects both male and female designers but are particularly critical to women who have traditionally been the caregivers.’ Moira Cullen
The Graphic Design Workplace During the 1990’s there was a surge in the publications debating the lack of flexible working in jobs in general and specifically in the creative industries. Publications such as Communications Arts brought the issue to the light; ‘This is not a women’s issue. It is a design issue. The need for flexible work schedules, family leave and feasible child-care, affects both male and female designers but are particularly critical to women who have traditionally been the caregivers.’ (Cullen, 1993, p.27) And even more recently this same issue is still being debated: ‘So I don’t think it’s a question of women not wanting to get back to working at a senior level, but rather the demands of senior-level design jobs are actively preventing them from doing so’ (Lindon, 2008)
6
The traditional concept of working late into the
take the time to develop relationships with work
night to get a project finished for a deadline,
colleagues that extend beyond the day-to-day
is a demand that is an integral part of some
working relationships.’
creative jobs, especially advertising. For women who often still maintain the role as caregiver to
These types of attitudes could lead to those
a family, this demand cannot fit into their lives.
with other commitments being perceived as less
This forces some women to change their priorities
dedicated members of the business which could
and they realise that working part time or lower
hinder their progress and pay within a company.
down the ranks of a company means they don’t have to put up with unsociable working hours
There is a demand for a shift in the graphic
and be in a high-pressured work environment.
design industry to adjust its working style
But the British custom of going to the pub after
to accommodate the modern family as ‘New
work and socialising with colleagues out of hours
mothers are frequently forced to take low-paid
doesn’t fit in with the lifestyle of someone who
jobs for which they are hugely overqualified
needs to leave work on time or has flexible
because they cannot find better part-time work.’
hours. This can end up being left out of office
(Daily Mail, 2009)
knowledge and feeling out of the loop and some people view this out of office socialising as a
With the graphic design industry being and
vital part of business, such as Julian Acquari,
becoming overwhelmingly female (Goldfarb,
managing director of Monster, who says ‘Even
2002) they will need to make adjustments as the
if you aren’t based in the office, or have heavy
book Careers by Design: A Business Guide for
out-of-work commitments, it is important to
Graphic Designers says:
7
Employers will need to accommodate women who want a family and a career. While there is a slow movement towards flexible hours (flexitime) and maternity leave (for men too), at the time of writing this it is strictly token. Talented women will not want to accept positions not offering maternity leave. Several have indicated the desire for four-day workweeks. (Goldfarb, 2002, p.150-1) The problem that has occurred in the graphic design industry doesn’t seem to be a lack of women; they are there, it’s more an issue of a lack of recognition and women not being in top end jobs. These are two very separate issues, which shall be tackled individually.
‘For reasons not completely clear, Graphic Design is overwhelmingly female for those under forty years old. Employers will need to accommodate women who want a family and a career.’ Roz Goldfarb
8
‘If a prospective client calls Pentagram and doesn’t ask for a partner by name, I see them thinking, Why did I get the woman? When I walk in. Even the women do it.’ Paula Scher
Why did I get the woman?!
Women in Managerial Roles Women not being in the top end jobs are down to
than others. ‘Women continue to make up
a mix between choices and barriers. Whilst some
approximately half the workforce but account
choose to take a back seat in their career when
for only 15.1% of managing directors or chief
they have a family others feel forced to step back
executives.’ (Brook, 2006) Sian Cook, co-founder
and take a lesser role.
of the Women’s Design and Research Unit and tutor at LCC thinks there are still very traditional
Recently it was suggested by Maureen Rice
old school ad agencies out there. Only 3 years
(2009) that the only people holding women back,
ago one of her female students went for an
were women themselves, they have been given
interview at one and was basically told women
more choices than ever before, with maternity
couldn’t do advertising. (Cook to Irwin, 2009)
leave and more part time working. The article
But with research showing that: ‘80 per cent
states:
of all purchasing decisions in Britain are made by women; yet 83 per cent of all ‘creatives’ are
Women now are constructing a glass ceiling
men. This is worse than it was 30 years ago.’
above their own heads - because they want more
(Guardian, 2005) It seems as if the advertising
from life than just the grind of a very senior
world could be missing a step here, as who could
position and the cripplingly long hours that go
be better to have making the top decisions about
with it……If women aren’t running the country or
your adverts, than the women who are the main
big business, it’s mainly because we just don’t
consumers of the products.
want to. Any glass ceiling that’s in place these days isn’t an enemy to women, but our alibi.
Although advertising might be lacking women,
(Rice, 2009)
women in business and female approaches to business are an up and coming area. Women
The Advertising industry is probably one of
are working successfully from home thanks to
the areas suffering from a glass ceiling more
modern technology such as the internet allowing
10
them to be in contact with clients with greater
businesses and consumers ‘A lot of our projects
ease, and these so called ‘kitchen table tycoons’
now are to do with social issues and communities
have led to Women Business Centres being
and that kind of work, so it’s less about, we’re
trialled in the UK, after success in America, to
just about the women, we are about a feminist
help women entrepreneurs. (Barrow, 2007)
approach to design, which is also inclusive of men’ (Cook to Irwin, 2009)
It is said that men and women have different qualities when it comes to their business
This could be attributed to the fact that women
approach, with women preferring more inclusive
favour more nurturing care-giving roles, and
web-like organizations over the more traditional
this is not only limited to more ethical and social
male hierarchical systems (Cullen, 1993) and
design but women have also been a catalyst in
with more women setting up small design
the drive for green design and sustainability.
businesses in recent years, this female approach
The book Women In Green mentions ‘Because
to design is increasing too:
ecology teaches that all things are subtly
‘Women have created, perhaps inadvertently,
intertwined, a “right brain” disposition would
a parallel industry of accessible talent. Many
seem compatible with sustainable design, which
practice as independent designers operating
emphasizes relationships over things.’ (Gould and
out of their homes or sole proprietors of small
Hosey, 2007) With 15% of women more likely
firms often with one or two assistants. Others
to rate environmental issues as important than
tend to cluster at the production level in firms as
men, (Gould and Hoesey, 2007)
freelancers or on staff often delegated the work of ‘design bees’ (Cullen, 1993, p.26)
But business women and designers working in more traditional office situations, can often
Women also tend to be more interested in being
find themselves in a double blind situation as
involved in social and ethical design, gaining
there is ‘pressure to adopt a more masculine
recognition with awards such as The Triodos
management style at board level, but women
Women in Ethical Business Awards. These issues
who do so can find that this is judged as
are increasingly popular and important for both
inappropriate for a woman and counts against
11
them.’ (Sabattini, L, 2007) So if they are assertive they are perceived as bossy and if they are unassertive then they do not progress. A recent study found that women managers are more likely to discriminate against female employees, due to female rivalry in the workplace, know as “queen bee syndrome” and this may be as significant in holding back women’s careers as sexism. So unless women stop seeing others as a threat, then this maybe another obstacle contributing to holding women back. (Sunday Times, 2006)
‘Women have created, perhaps inadvertently, a parallel industry of accessible talent. Many practice as independent designers operating out of their homes or sole proprietors of small firms often with one or two assistants.’ Moira Cullen 12
‘Why don’t female creatives rise to the top? They get fed up with the dickheads, the heartbreaking choices, the insane juggling that makes you get up and vomit every morning from the stress ... until, finally, they say to hell with it.’ Carole Cadwalladr
Lack of Confidence Some women are undervaluing themselves
There are also psychological theories on the idea
and lacking confidence in their work, this was
that women have a lower self confidence in their
highlighted recently in an article about women
work than men, which in turn causes them to be
and money, the article mentions an advertising
less likely to push for a better job or higher pay:
agency who placed an ad in a paper for a creative position:
More women suffer from a lack of self-confidence
The salary was attractive but there was almost no responses from women candidates. Then a bright spark at the ad agency had the idea of re-advertising the exact same position but with a lower salary. Dozens of women immediately replied. (Kelsey, 2009) Which shows that in some cases it might be women not having the confidence and belief that they are worth higher positions. But with advertising it may be more than women not
than do men. Low self-confidence can hamper women’s career progression in several ways. Women are less likely than men to make speculative job applications for posts for which they do not consider themselves fully qualified; self-confidence is also a factor in the significantly lower salaries negotiated, on average, by women compared to men. Women are more likely than men to be averse to self-promotion, which also impacts negatively on progression and rewards. (Broughton and Miller, 2009)
wanting such hugely demanding jobs; advertising and a family do not seem compatible: Why don’t female creatives rise to the top? They get fed up with the dickheads, the heartbreaking choices, the insane juggling that makes you get up and vomit every morning from the stress ... until, finally, they say to hell with it. (Cadwalladr, 2005)
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‘If you flick through the design history books, you’ll notice that pretty much all the “great designers” have something in common. They’re men.’ Alice Rawsthorn
History of Women in Graphic Design
‘If you flick through the design history books,
commercial gain, and had penetrated design
you’ll notice that pretty much all the “great
schools, workshops and professional training.
designers” have something in common. They’re
(Anscombe, 1984)
men.’ (Rawsthorn, 2009) Whilst women were key figures in the textiles and The Arts and Crafts movement in the 1890’s is
fashion industry, by the early 1980’s women were
responsible for women becoming involved in the
still few and far between in areas of design such
commercial side of design. Previously, women’s
as graphic design and architecture. (McQuiston,
traditional skills, such as cross-stitching, had
1988). Despite the role women played in the
been more a hobby. But during the Arts and
development of the design industry as a whole,
Craft movement women became involved in
women’s contributions to modern design seems
typography, calligraphy, illumination, illustration
to have been overlooked, creating a skewed
and bookbinding. (Lupton, 2000)
representation of what happened in twentieth century design. This could be partly due to the
By the end of the First World War, women had
fact that very few women at the time contributed
started to put their ‘traditional’ skills to use for
to theoretical writing on design. (Anscombe, 1984)
16
The feminist revolution of the 1970’s led to women
Women were becoming the not only facilitators of
centred pieces of activist design and places such
the design, but also the message, with women’s
as the Women’s Building in California to be set
issues becoming the central theme and the
up. With people such as Shelia DeBrettville in
message being communicated.
the 1970’s coining the phrase ‘graphic design feminism.’ She was a frontier in getting more women into the education of graphic design; I was the first and only woman on the Design school faculty at Cal Arts in 1970. When I said I wanted to use my two days teaching on a program for and with women, the Dean, Victor Papenek said it was not a good idea because then male students would have no woman teachers. i suggested that he hire more women. He said other things I would prefer not to publish but finally I was given permission to teach that Women’s Design program.
Culturally it seems that American Graphic Design adapted to the increase of women designer quicker than Britain. Changes in America were more dramatic, there was a sharp increase in female designers from 25-53% in 19801985 (McQuiston, 1988) and American female designers, such as Paula Scher, Deborah Sussman and April Greiman have become more internationally recognised, where in Britain it has been a more steady progression.
(DeBrettvile to Irwin, 2009)
Certain areas of design seem to have provided
This feminist revolution and artist groups such
example women have excelled in the area of book
as the Guerrilla Girls, who created bold graphic posters tackling feminist issues, such as their 1989 image of Ingres’s Odalisque wearing a gorilla mask, with the text: ‘Do women have to be naked to get into the Met. Museum? Less than 5% of the artists in the Modern Art sections are women, but 85% of the nudes are female.’ (Allen, 2009)
17
more opportunities for women than others, for and magazine publishing. This is often attributed to the Arts and Crafts and the Arts and Crafts Society in Boston for example had many female designers among its active members as early as 1897. These women often ran small workshops and schools teaching the skills of bookbinding and illustration to young women.
The magazine industry has been a successful
In the 1980’s book cover design was being re
area for creative women for over 100 years;
shaped by women designers, such as Louise
this success could be attributed to the social
Fili, who bucked the trend for shiny and foiled
nature of women’s magazines, during World War
stamped mass-produced books and used matte,
Two magazines were at a distribution high as
laminated coatings, working historical type with
they were one of the few leisure activity aimed
modern colour palettes and compositions. Women
solely at women’s interests. This demand led
designers helped create a more flexible approach
to women taking on top roles in the industry,
to not only the cover design but also the interior
such as Cipe Pineles who became art director
of books with Muriel Cooper becoming one of the
of Glamour magazine in 1942 and Estelle Ellis
first designers to set the type using a computer.
becoming promotional director of Charm in 1944,
(Lupton, 2000)
she also then took an active role in working with women designers on advertising campaigns,
Whilst other areas of design have struggled
which was a new area for women to be involved
to build up a large female contribution, such
in (Lupton, 2000). The demand for magazines
astypography, with only 12.3% of the font
dropped during the 1950’s as television became
designers at Linotype being female and only 5 of
the entertainment form of choice, but even today
the 68 presenters at the Typo Berlin 2004 being
despite the rise of internet, women’s lifestyle and
women. (Hagmann, 2006)
fashion magazines are still very strong, especially in the US and the UK, because of this ‘Magazine publishing, more than many other fields, has long been a great career for women.’ (Fox, 2009)
18
‘Why do you — all three of you — suppose there are so few female graphic designers — or at least so few female ‘superstar’ graphic designers? Is there a glass ceiling in graphic design?’
Question to Milton Glaser
Recognition Within the Industry It is understandable that the early days of graphic design were male dominated, this was a time when women rarely worked, but from the second half of the 20th century until now, women have become more career orientated and yet their contribution to graphic design is hugely underrated. The issue of women and graphic design really came to head in the mid to late 1990’s, when organisations such as the WD+RU were established and articles such as The Hilary Factor and Women in Design- Revisited were published. This brought the debate to the table and since then it has been a sporadically occurring issue. At the Fuse95 typography talk Teal Triggs was looking around the room and noticed ‘all of the speakers were white middle class males with glasses and so I had to raise my hand and just
‘Unless something very dramatic happens to the nature of the human experience then it’s never going to change.’ Milton Glaser
ask Neville Brody who I know quite well and I just said “Neville I’m just making an observation, but where are the women?” ‘ (Triggs to Irwin, 2009)
20
Which led to Teal Triggs, Sian Cook and Liz
so few female ‘superstar’ graphic designers? Is
McQuiston setting up the Women and Design
there a glass ceiling in graphic design?’ (Bierut,
Research Unit (WD+RU) which is an organization
2006)
where the women could consolidate their ideas to raise awareness of women working in visual
The response from Glaser for the reason there
communications ‘A lot of our projects now are to
are so few female rock star graphic designers
do with social issues and communities and that
was:
kind of work, so its less about, we’re just about
Women get pregnant, have children, go home
the women, we are about a feminist approach to
and take care of their children. And those
design, which is also inclusive of men.’ (Cook to
essential years that men are building their
Irwin, 2009)
careers and becoming visible are basically denied to women who choose to be at home.
It seems that design talks are a strong catalyst for noticing and debating the issue of men
He continued: ‘Unless something very dramatic
outnumbering women in graphic design for
happens to the nature of the human experience
example at the TypCon 2003 and 2004 having
then it’s never going to change.’
an average of 15 percent female speakers
This was posted on the Design Observer website
(Hagmann, 2006)
by Michael Bierut and causes an online debate about the issue, which received 189 responses
More recently at a design conference on The
and an online debate that lasted over a year.
Art of the Book: Behind the Covers in 2006, the following question was put to the three speakers
The lack of recognition of women graphic
Milton Glaser, Chip Kidd and Dave Eggers:
designers could be highly influenced by the
‘Why do you — all three of you — suppose there are so few female graphic designers — or at least
21
lack of women in the top design jobs, but some women have broken through the glass ceiling
and become top designers and successful businesswomen. But even today’s design industry related media, such as magazines, books, talks and awards tend to be male dominated. The industry is much more female saturated these days but women are still going unnoticed. This is something that women have noticed about design history, Sophie Matthews, from design agency Thomas Matthews said in an interview with Computer Arts magazine discussing if there is a lack of women in design: ‘It’s only when you start reading and finding out about the history of graphic design in particular that you realise just how male-dominated it’s been.’ (Matthews, 2008) Industry related media does not seem to be actively seeking out the women. Sian Cook of the WD+RU said this could just be down to lazy journalism, the people organising the events or writing the articles look for the most accessible people, the men, and don’t dig deeper to get to the women. (Cook to Irwin, 2009) Others argue that women do not seek out the self-gratification that men do. Whereas the
‘How I envy my male partners who are invited to speak based on their achievements and prestige as opposed to their sex. I cannot separate my own achievements from being a women.’
Paula Scher
22
women designers are just getting on with their
It is felt that the design industry should have
work, the men actively look for recognition, ‘Men
reached the stage where the women graphic
create the standards by which ads are judged
designers are asked to speak about their
and then go round handing out awards to each
achievements, not the fact that they are women.
other,’ says Alps.
Over 20 years ago Liz McQuiston spoke of how despite change happening one thing women
While women designers may want more
didn’t want was to be singled out for being
recognition, as Liz McQuiston has said,
a woman and just be asked to contribute to
‘Many women in the design field want to be
things because they are women in the industry
acknowledged for the ideas and work they
(McQuiston, 1988). Sophie Thomas, from
produce, as opposed to being singled out for
Thomas and Matthews, found this to be true for
the fact they happen to be women. (McQuiston,
her and her partner:
2009, P.7) Which are thoughts mirrored by
When we started up it was really unusual to have
Paula Scher, who says ‘How I envy my male
two female directors, and we were constantly
partners who are invited to speak based on their
being asked to come and talk about women in
achievements and prestige as opposed to their
design. We were never just asked about good
sex. I cannot separate my own achievements
design, but rather invited along as a female voice
from being a women’ (Scher, 2009) Recently
and female opinion on design. (Thomas, 2008)
Grafik magazine produced a special report on women graphic design heroines, but as Emmi
But some women designers have managed to
Salonen, who wrote a piece for the report said
use their tokenism as a female designer to an
‘My hope is that we won’t need special editions
advantage, by being a woman in a very male
for female designers of today’s generation in
environment, they have managed to stand out
tomorrow’s press.’(Grafik, 2008)
from the crowd. Dr Andrea Siodmok, completed
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a PhD in virtual reality and found that not only
upon women in the general field of design. Most
did the course have more male students but
recently Women of Design by Armin Vit and
being a female in a profession that is male
Bryony Gomez-Palacio (2008) focused on women
dominated worked to her advantage:
in graphic design but this book is overwhelmingly
I probably had about 10 interviews when I first
made up of American women, there does
graduated, and lots of people said they were
not seem to be any publications which have
interviewing me because I was a female in the
highlighted the merits of British or European
industry. I certainly think it’s opened more doors
women graphic designers.
for me than ever held me back. (Siodmok, 2008) Another reason for men still being given more In books on graphic design history women are
acknowledgment than women could be that men
rarely mentioned, for example, the Dictionary of
seek recognition more than women, as Sian Cook
Graphic Design and Designers, which contains
has said:
information graphics from the 1840’s to the
I think it maybe is that thing about self-publicity,
present day mentions only 25 women designers
that if I did have to generalise I would have to
out of a total of 357.
say that a lot of women are less bothered about self-publicity. They just get on with it and do their
Over the past 30 years a few books have tried
job and they are not kind of attention seeking in
to counter balance the lack of notice given by
the same way. (Cook to Irwin, 2009)
design history to women, by showcasing a range of women in the industry. A Woman’s Touch: women in design from 1860 to the present day and Women in Design: A Contemporary View were both published in the 1980’s and touched
24
Education & Role Models
‘What happens to the women when they graduate? Because the percentage of female students to male is much higher, so there is that whole issue where do they go?’ Teal Triggs
It is obvious from the survey conducted to aid this research report that whilst most of the design students at LCC could think of male graphic designers most fail to think of any female graphic designers (Irwin, 2009). This leads on to the question, are design schools doing enough to promote women in design? Talks within the Faculty of Design at LCC show an obvious gender bias towards men, AIGA medallist winners are mainly male (AIGA, 2009) and D&AD is male dominated (Langridge, 1995). Design talks is another area which seems to be male dominated, within the school of graphic design at LCC the talking graphics lectures were overwhelming talks from male designers, with only 1 of the talks through the year being presently by a woman. In Australia, at a Future of Design Education meeting there were only 8 women speakers compared to 23 men and it was said ‘Women designers and design educators were seemingly invisible.’ (Calahan, 2007). Which seems to contrast highly with the 26
Australian census figures, which show that 6,000
Teal Triggs, Professor of Design Writing at LCC
of the 13,000 graphic designers in Australia are
and Co-Founder of the Women’s Design and
women. ‘In even starker contrast, 60% of the
Research Unit (WD+RU) believes the situation
105 undergraduate graphic design students at the
has got better over the past 10 years, with more
Tasmanian School of Art at Hobart in 1998 are
women tutors and lecturers working in the school
female and only 40% are male.’ (Calahan, 2007)
of Graphic Design, in LCC:
These figures compliment more recent figures
Since I have come back [to LCC from
for British universities with Kingston, Brighton,
Ravensbourne College] I think there has been a
Amersham and Wycombe and University of the
real strong shift in a lot more women, suitable
Arts London all having more female graduates than
candidates, you know it’s not just about them
male on their design courses, with 73% female
being women, it really is about the right people
students in some institutions. (Unisats, 2009)
for the job. (Triggs to Irwin, 2009)
27
These women provide model roles and prove to students that women are playing a vital role in the design industry. Whilst some argue that it shouldn’t matter if the designers showcased in the media are male or female, but if female design students don’t see women achieving in the industry it can heighten a lack of confidence. A thought that is echoed by Sharyn Thomson:
‘I never realised how important it was to see women who have successfully placed themselves in business, talk about how they got there. It is especially beneficial for foreign students who don’t get the chance to talk to other women designers in their own countries.’ Sharyn Thompson
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‘Change doesn’t come in one great thump. It comes one by one, and it looks kind of funny and then it doesn’t.’ Paula Scher
The Changing Demographic
‘A profession that has been long dominated by men is changing. There are simply more women. There are more women who are terrific designers, more women running their own businesses, more women corporate executives, more women changing the scale of things and appearing out of scale in the process. There are also more underpaid women, more women juggling careers and motherhood, more women who feel squeezed out in a bad economy, more women going to art school and going nowhere afterwards, and more women who are resentful because of their lack of success “because they are women.” Change doesn’t come in one great thump. It comes one by one, and it looks kind of funny and then it doesn’t.’ (Scher, 2009)
‘Surely our vision of design for the future should incorporate both male and female viewpoints.’
Liz Mc Quiston
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Design schools across the country are producing
percentage that just seem to disappear or
more female than male graduates. (Unistats,
whether they are just getting on with it in their
2009) In the past these women have graduated
studios.’ (Triggs to Irwin, 2009)
and then the majority seem to disappear once they get into the industry, as mentioned by
But maybe this is starting to change; Sian Cook
Sophie Thomas:
has noticed that the female graduates from her Graphic and Media Design course are now in
Generally in big art degrees it’s quite equal. You
the position where they have started offering
look at undergraduate classes and competitions
internships and work experience to her current
and awards, and the gender split is around 50-
students. (Cook to Irwin, 2009) Which means
50, but then suddenly you think, where are all
the course is creating its own pool of female role
those women going? They go into the industry
models and maybe it’s these small-scale changes
and then just fizzle out. (Thomas, 2008)
happening in and around design schools that are effective.
This echoes the thoughts of Teal Triggs, and she suggests looking at the reasons why these
The recent recession has been said to lead to
women are doing the courses in the first place:
a more feminine approach to business, with businesses becoming increasingly aware of their
‘Why are they coming to do the course? I
corporate responsibilities and understanding
don’t know, all reasons are valid but are they
the qualities of using more female “right brain”
less motivated in the sense of being career
approaches to business, such as teamwork, a
orientated, is it that they are making very
non–hierarchical web like business structure
conscious decisions to get married and have
and being more risk aware. This so called “Y
a family, again all of this absolutely ok. But I
generation” seems to be set to increase, as a
can’t put a handle on it, there is such a huge
recently commissioned piece of research by
31
Microsoft said that over the next 25 years in the UK, women will be dominating the workplace, which could cause a major business and social shift. (Craven, 2009) This female perspective of putting the process and communities of the design at the forefront rather than the more male outcome based way of looking as business seems to be a new way of working;
‘Women have a traditional and history of being the outsiders so, we see things differently. It’s not that we’re better or more ethical than men, but I think we ask new kinds of questions.’ Lemburg, 2003
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‘I believe, now, the recognition is there if any of us women want it and work for having it.’ Sheila DeBrettville
The Future So, is there actually anything stopping women
will these women still be in the graphic design
graphic designers in the 21st century from
industry? Will they be in top designer jobs?
getting the recognition they deserve? Or is
Will they be receiving equal pay to their male
this an issue that is no longer relevant? Sheila
colleagues? And will they receive the recognition
DeBrettville recently said, ‘I believe, now, the
they deserve? Whilst their chances are stronger
recognition is there if any of us women want it
than the previous generation, only time will show
and work for having it.‘ (DeBrettville to Irwin,
if this issue has evened out.
2009) and she could have a valid point, with women seeming to not be as concerned with
There are still pockets of imbalance relating to
recognition as men and some purposely choosing
recognition and media with a lack of women
less senior roles than men, it could be said that
represented in books, magazines and lectures
women have chosen to take a less visible role in
on graphic design. Design schools could help
Graphic Design.
promote women graphic designers to their students more, most students can think of big
The 1990’s were the time when the severe lack
name male graphic designers, but struggle to
of visible female graphic designers was a major
think of any women, without these women role
problem (Cook to Irwin, 2009) but now in 2010
models, students may end up with a distorted
the issue has slowly been changing and with
view of women’s roles within the graphic design
more female graduates than ever, women could
industry. Journalists are not looking hard enough
end up dominating graphic design of the future.
to find women who are successfully working in
The BA Design for Graphic Communication course
graphic design and those organising lectures
is a living example of women outnumbering men
do not always dig deeper to find the women
in current Graphic Design education, as 22 of the
and instead fall back to high profile men. But
28 students are female. But in 10 years time
hopefully with the rise of blogs and online
34
‘Design is a profession that will ultimately be dominated by women. The numbers are there.’ Paula Scher
portfolios in recent years, women may start taking a more pro-active approach to promoting themselves and this could raise the profiles of women designers worldwide. Women also need to help each other out more by not seeing others women as a threat, supporting women managers and their management style. Also by helping to build on their confidence and fellow colleagues confidence they can start to stand up more and ask for pay rises or flexible working hours. By being bolder and louder women may start being noticed more. The graphic design workplace, along with many others is going to have to adapt to increasing laws allowing both men and women more flexible working hours, encouraging a more modern approach of co-parenting and moving away from traditional gender roles.
But essentially
the people with the top jobs are going to be the ones who put in the long unsocial hours and the demands that come with it. If women continue
35
to take on the main caregiver role, as many do, for both children and elderly relatives then it is unlikely that they are going to be able to balance having a highly demanding job and family responsibilities. Something has got to give, and in most cases it is the job. Overall issues of sexism, pay differences and an imbalance of women within the workplace are not unique to the graphic design industry and unless there is a dramatic change in the social roles of women, then it is unlikely that an equal balance of women in high roles within businesses and the pay packet to match will happen soon. But we are seeing more female approaches to business and design, along with a surge of women graduates, and this trickle up effect might slowly be changing the thinking and the people behind current and future graphic design.
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Appendix Interview questions for Shelia DeBrettville
Interview Questions for Sian Cook & Teal Triggs
Please could you tell about your involvement in the Women’s Building and your role within the graphic design industry.
Please could you tell me more about the Women’s Design + Research Unit (WD+RU)
You coined the term feminist design; can you explain what this is?
Within the Faculty of Design do you think there is enough being done to promote female graphic designers? Both past and present.
Within Schools of Graphic Design do you think there is enough being done to promote(past and present) female graphic designers to the student?
Do you think that women bring different attributes and/or attitudes to graphic design? If so, what?
Do you think that women bring different attributes and/or attitudes to graphic design? If so, what?
Do female Graphic Designers get the recognition they deserve? For example are they underrepresented in industry events and media etc?
Do female Graphic Designers get the recognition they deserve? For example are they underrepresented in industry events and media etc? Following on from the pervious question, what are the barriers or choices to women Graphic Designers affecting them gaining wider recognition and kudos? With more female graphic design graduates emerging in recent years do you think this has or will affect industry? And how? How to you think the role of women in graphic design varies from different cultures and countries? How do you think feminist design has developed in the last 40 years? And what role does it have in today’s society?
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Following on from the pervious question, what are the barriers to women Graphic Designers affecting them gaining wider recognition and kudos? With more female graphic design graduates emerging in recent years do you think this will affect industry? And how? Are there any designers, books or articles that you could recommend to assist my research?
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Bibliography Interviews
Journals
Irwin, R. (2009) Interview with Teal Triggs, LCC, London, 8th October (Teal Triggs is co-founder of the Women Design and Research Unit)
Cullen, M. (1993) Politics and gender: The Hilary factor, Communications Arts, (U.S.A.), vol 35, no.2, pp.24, p.26-30
Irwin, R. (2009) Interview with Sian Cook, LCC, London, 21stOctober(Sian Cook is co-founder of the Women Design and Research Unit and a Tutor at LCC)
Thomas, M., Siodmok, A., Lindon, J., Aspinall, S., Bambach, L., Dennis, T., (2008) Are there enough women in Design? Discuss, Computer Arts, no. 147, pp 56-59
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â&#x20AC;&#x2DC;Well-behaved women seldom make history.â&#x20AC;&#x2122; Laurel Thatcher Ulrich