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Letter from the editor
JR and Activism
History’s Most Powerful Protest Art
Shepard Fairey Reveals New Posters
What are Women Worth?
Campaigns by Design
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The Afro Comb and African Consciousness
How good design can end cultural appropriation.
Why Tatooing is Universal
Punk Yet Peaceful…
The Draw of War: Walt Disney and WWII
Album Artwork Selections
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Letter from the Editor What is typography? Why does it matter? How does it impact our lives? The Merriam-Webster definition of “typography” is: “the work of producing printed pages from written material” or “the style, arrangement, or appearance of printed letters on a page.” How those letters, words, and sentences are styled and arranged affects how they are perceived. Good typography clarifies content, establishes hierarchy, and presents information in a manner that makes it easier to read, and, therefore, to understand. Good typography is good communication: it can start a dialog or advance an idea or make a difference in the world. Typography is also intertwined with our daily lives—we encounter type in everything from the products we buy, the signage around us, the books we read, the news we consume, and the directions we follow. Typography can be beautiful, functional, persuasive, and inviting. It can also fail, especially when there is a disconnect between how the type looks and what the text says. This debut issue of Desight examines typography and design viewed through the lens of activism and social justice. Topics range from the recent presidential election to ethics within the design industry to the power of the poster as a means of expression and protest. The content was conceptualized, collected, curated, and created by students in Art 338: Typography II at California Polytechnic State University in San Luis Obispo during winter quarter 2017. The magazine reflects the diverse interests and talents of the students who brought this project to life.
Charmaine Martinez Editor, Instructor and Type Enthusiast
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JR
an The artist
by ana bambic k 6
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Activism
nd t on a crusade
kostov werd.
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e started on the houses of Paris by writing his name on rooftops. After realizing he could make use photography to tell a wider story, he began pasting images he took on walls in numerous illegal sidewalk galleries. When Paris was caught by the riot fire in the mid 2000s, his social consciousness reached a new level of lucidity, and his activist crusade began. His moniker is JR and he is probably the most globally spread street artist. It’s obvious that JR’s art comes from activism, but the manner in which this TED prize winner conducts his affairs is entirely different. He does not focus only on several concrete issues as Keith Haring did, nor does he engage in advocating revolution in style of Carrie Reichardt. JR thinks wider, always bearing a universal picture in mind, even if he focuses on concrete, local issues in any of his continuous travels. Recognized by the art world as a prodigy, JR is today known as an activist for omen’s rights, peace and equality, always having one common quality in all his projects — an idealistic belief in humanity.
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JR — Rooftop Beginnings The beginnings of JR’s activism stem from his firm convictions that people are often served with wrong ideas about anything ‘other’, while he seeks his subjects in areas where there were no museums, or other cultural institutions. In the Portrait of a Generation project, realized in Paris between 2004 and 2006, JR turned his focus towards the marginal groups of society. Initially, those were kids against whom the prejudice of Parisian bourgeoisie was overwhelming, so pasting posters with their faces across the posh arrondissements of the City of Light had an immense impact. So immense in fact, that the Paris City Hall allowed for JR’s photographs to be wrapped around its outer walls.The word prejudice played the crucial role here, as it did in the next adventure of JR, located in the dangerous West Bank area.
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Face 2 Face and Women are Heroes Hearing a lot about the Israeli – Palestinian conflict, the artist embarked on a journey wanting to experience the situation and, perhaps, help overcome it on some level. Fighting against prejudicial ‘other’, he pasted photographed portraits of Palestine and Israeli people on the West Bank barrier, one next to the other, on both sides of the wall. He called the project Face 2 Face, and as he was looked disapprovingly by some for puttingpictures of Israelis or Palestinians in the enemy zone, rarely could those people tell apart which one was which. By confronting two opposites, putting them in the same place and leveling them, JR did the unthinkable in a way, which aided in the understanding of absurdity of their discord. His actions stood for tolerance and acceptance, for peace, suggesting an alternative of friendship instead of clash. The development of JR’s evolving artistic and socially engaged practice took him in the direction of advocating women’s rights as well.
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He started this initiative in the fa Janeiro, and spread it across places rate of social distress. Women are went from Brazil to Sierra Leone, India, and Cambodia highlighting most vulnerable and the strongest given problem they encounter in conditions they live in.
Art to the People
It’s hardly surprising that JR chose p primary expression. The illicit natu there to emphasize the direct comm the people, his partners in crime. Th the reaction if what JR is trying to the opinions of the stale elite are to him. He wants to move the mas equality and human values with e way. Even his more sentimental pro and Wrinkles of the City, posses a empowering tone, fighting for ev too-frequently overlooked social g latest concept, the one that made h nomenon, is what embodies JR’s ac
avelas of Rio de with the highest e Heroes project , Liberia, Kenya, g women as the survivors of any n the unsettling
public art for his ure of his works is munication with The response and o provoke, while of little interest sses, propagating every step of the ojects, Unframed a clear critical or veryman, or the groups. Still, his him a global phectivism the best.
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Inside Out Can Change the World Already a king of street art, JR decided to involve people in his ideas. When giving his inaugural TED talk in 2011, JR asked a crucial question – Can art change the world? He did not offer a yes or no answer at the time, stating that art definitely can change how people perceive the world, altering the viewing angle, while proclaiming his wish – to use art to turn the world inside out. Then and there, the biggest participatory art project in the world was born – Inside Out Project. As the winner of a million dollar prize, JR started engaging people across the world to make a photographic statement, to stand for their beliefs, to make their mark, The response was (and still is) vast, as the photobooths aiding in photographing people and the exhibitions spread from the USA to China. Using photography as activism, JR achieved in reaching out to millions, who dared in making themselves to be, visible and thus, known and heard. Accomplishments of JR’s artistic engagements have surpassed all expectations. The success and the acceptance they get from local communities testify to the purposefulness of his actions, as he succeeded in changing the dynamics of various, tightly knit, groups of people. Acting locally, they made an impact on the global scene, reintroducing the most universal human values into a over-stratified global society. People have become their own brand, while the artist insists on not having any logos, sponsors or credits on his art, giving it back to the people. Therefore, JR’s anonymity is logical and deliberate, as he is only the vessel of the community. His photographic activism takes him to where he is needed the most, where he endeavors to put an ordinary man on the global map, so that when he is looked at, he can always look back.
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History’s Most Powerful Protest Art by Belinda Lanks Top designers on the images that coalesced movements and compelled change. Get inspired. Homemade posters can pack a punch. But well-designed images can deliver powerful messages that resonate for decades, as these examples, chosen by prominent designers, make clear. From a gold-swallowing Hitler and babies killed in Vietnam to the “I AM A MAN” posters used by black sanitation workers in Memphis to protest poor working conditions, these images harken back to disturbing moments in history. But they’re also reminders of the progress that we’ve made, the challenges we still face, the dangers of sliding backward, and the vital importance of staying engaged in the good fight.
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‘Hope’ artist Shepard Fairey reveals new posters to protest Trump Stephy Chung, CNN; January 19, 2017 Shepard Fairey -- the artist behind the 2008 “Hope” poster depicting then presidential candidate Barack Obama -- has produced a new set of images in time for President-elect Donald Trump’s inauguration this Friday. The three posters feature Muslim, Latino, and African-American women. “We thought (they) were the three groups that had been maybe criticized by Trump and maybe were going to be most, if not necessarily vulnerable in a literal sense, most feeling that their 24
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needs would be neglected in a Trump administration,” Fairey told CNN. Fairey, along with artists Jessica Sabogal and Ernesto Yerena, teamed up with the non-profit Amplifier Foundation -- a self-described “art machine for social change” -- to produce works for the organization’s We the People campaign. It’s really about making sure that people remember that ‘we the people’ means everyone, it means all the people,” Fairey said. “I think the campaigns were very divisive, more from one side than the other. But (it’s) just reminding people to find their common humanity, and look beyond maybe one narrow definition of what it means to be American.” The campaign’s objective, as stated in its Kickstarter campaign, is to “flood” Washington with symbols of hope on Jan. 20. “On January 20th, if this campaign succeeds, we’re going to take out full-page ads in the Washington Post with these images, so that people across the capitol and across the country will be able to carry them into the streets, hang them in windows, or paste them on walls,” organizers wrote.
So far, more than $1.3 million has been pledged, exceeding the Amplifier Foundation’s $60,000 target. Fairey, who has previously depicted him in an image inspired by George Orwell’s “1984,” has long been vocal about Trump. “Trump is dangerous,” Fairey told CNN in the lead-up to the 2016 election. “He’s a demagogue who’s a bigot and is sexist. He really has no respect for a lot of different people, no experience in politics, and is pursuing the presidency out of his own ego rather than a desire to create the greatest good for the greatest number of people.” Fairey is not the only artist making a statement against Trump. Los Angeles-based artist Illma Gore recently revealed a mural painted with human blood to protest Trump, and actress Meryl Streep earned the President-elect’s scorn when she spoke out against him in a speech at the Golden Globes earlier this month.
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What Women are Worth by Cheryl Heller
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was asked to speak at the conference in Chicago about the fact that women make less money than men. It’s an endless emotional subject colored by centuries of opinions. Following, nevertheless, is one more point of view. I believe that money and power will not come through legislation, although that may give women the confidence to act. It will come through an understanding of how our behavior has been conditioned by stereotypes and how our expectation levels are set and the responsibility we share in setting those expectations. The time has come for this werd.
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Both men and w subordinates rou subordinates wit ing statistic. Wom men. One-third started by wom self-employed, th larger. That mean own companies, pay themselves.
The facts about troversial, but th why. The first in but if employers why wouldn’t th They have to fac and they pay, to can while remai place, and they most pressure.
issue of men versus women to end. Too much has been said and written and too much money has been made by those to stand to profit from analyzing the gender gap. The most honest and useful belief we can hold is that the battle we have to fight is an individual battle having nothing to do with gender. It’s undeniably true that women make less money than men, and money is the sign of equality. Women earn less money than men at every level of education. The gap is as large for college graduates as for workers who have not finished high school. 28
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A second defin crimination is jo the assumption are suited to som than others or th rather than ma called sex-role d and there are a m as to why it exis the same has ex myths of almost a preference for Simone Dabougr the norm and wo opposing to men
women employers pay their female ughly $12,000 less than their male th similar positions. It’s a fascinatmen pay women less than they pay of all new businesses today are men, and surprisingly, among the he gap in hourly earnings is slightly ns that even when women have their they pay themselves less than men
Not surprisingly, the fact that men have been in power has had an effect on the study of sexual differences. First of all, women had not been considered important enough to study, and the study that has been done has been directed towards discovering proof of women’s biological inferiority. Men have simply been protecting their turf. We have been considered less intelligent because of our smaller brain size and are unable to perform several tasks simultaneously because of less brain lateralization.
the wage gap are relatively unconhere’s a lot of disagreement as to nclination is to blame employers, s had the power to control wages, hey drive down the wages of men? ce the issues of supply and demand o men and women, as little as they ining competitive in the marketrespond to whoever applies the
We’re believed to be more controlled by our hormones than are men. Edgar Burman, who was medical advisor to the late Hubert Humphrey, warned against women’s participation in public affairs because of their “raging hormones” and U.N. Ambassador Jean Kirkpatrick reported that some White House critics resisted her appointment because of her female “temperament.” We’re believed to be generally fixed as homemakers and breeders of children through the evolution of hunter-gatherer societies. We’re also believed to be more “social” and more suggestible, to have lower self-esteem, to excel over men at repetitive tasks, to be less analytical, less motivated towards achievement, and more auditorially oriented rather than visually. None of these things is true. What is true; however, is that we’re conditioned to behave in certain ways regarded as appropriate to our gender by our parents, our teachers, and by society.
nition of disob segregation, that women me jobs more he menial tasks anagerial. It’s differentiation million reasons sts. The assumption that we’re not xisted forever. Within the original t every culture, there seems to be dichotomous thinking, which, as raur wrote in 1945, “Casts men as omen as the other possessing traits n.”
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The overwhelming evidence that’s come to light in the last decade indicates that gender differentiation is best explained as a social construction rooted in hierarchy, not in biology. It’s been proven that jobs affect behavior tremendously. Recent research found a direct link between the pace complexity, or routinization of a job and the person’s commitment, intellectual flexibility, moral perspective, and competence. In other words a person’s interest and competence turns out to be linked to exposure to new situations and opportunities to learn in advance. We actually condition ourselves as we are being conditioned to fit this hierarchy. It’s been discovered that people do “emotion work” on themselves to create feelings that appropriate to their role in society; also, that through anticipatory socialization, men condition themselves to have masculine feelings and women to have feminine feelings. Nora Ephron wrote about this self-fulfilling prophecy: “I adapted willy-nilly. If I was assumed to be incompetent at reversing cars or opening bottles, oddly incompetent I found myself becoming. If a case was thought too heavy for me, inexplicably I found it so myself. I discovered that even now men prefer women to be less informed, less able, less talkative, and certainly less self-centered than they are themselves, so I generally oblige them. I didn’t particularly want to be good at reversing cars and didn’t in the least mind being patronized by illiterate garage men. But all stereotypes disintegrate when we look at individuals. The fact of the matter is that more men than women do certain things and behave in certain ways and vice versa, but in reality, the world just doesn’t split neatly down that line. What differences there are between men and women turn out to be much smaller than the differences between rich and poor or between managers of small and large companies or old and new companies. They 30
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may even be smaller than the differences between old and young people, or those with professional parents and those with working class parents. The concepts of male and female cause the sorting and skewing of perceptions by focusing on differences rather than similarities. Often these distinctions are based on very slim evidence. It was Coleridge’s idea that a truly great mind is androgynous, one that rises above the traps of gender. We create our own opportunities. We must accept responsibility for doing that, and we must accept that we are just as responsible for not creating opportunities. For everyone it’s an individual battle. No organization and no legislation will change enough people. What will help is for each of us to work individually to prove the stereotypes wrong to ourselves and to everyone else. People who are successful have many qualities in common. They have a passion to be great that carries them through rough times and keeps them focused. They’re clear about what they want. They don’t focus on limitations. They take risks and they have courage. These are qualities shared by both genders. We have a tremendous advantage. We have learned a lot from not being the ruling class. I read once that children always know their parents better than parents know their children. That’s because those with power are studied carefully by those they control. We still have the element of surprise. If you’re not expected to be strong or brilliant, it can work to your advantage. t seems to me that the conflict is to be treated roughly, so you must choose. At a conclusion of A Room of One’s Own, Virginia Wolf wrote, “If we face the fact, for it is a fact, that there is not an arm to cling to, but that we go alone and that our relation is to the world of reality and not only to the world of men and women, then the opportunity will come.”
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Campaigns
by Design matt Hansen
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et’s face it, the 2016 presidential election was pandemonium—an all-out fist fight between the left and the right. In the left corner, weighing in at 33,000 deleted emails, the undisputed wall street heavyweight, Hillary Rodham Clinton. On the right, weighing in at 6 bankruptcies and 34 thousand tweets, the reality tv show host and political newbie, Donald J. Trump. Instead of boxing trunks, the candidates sported expensive suits; and instead of hooks and jabs, they threw negative commercials and obvious subtweets. America watched as the two fighters sparred in the ring, ducking questions and dodging the real issues. After battling it out for the full 12 rounds, one fighter finally tapped out. Thousands of Hollywood elites and pretentious college students sat in silence as thousands of farmers and greedy millionaires rose to their feet in celebration. Just like that, the historic 2016 election was over. Both politicians left the ring unscathed, but the fate of the U.S. was riddled with uncertainty. Behind these politicians were their spirited crew, their clamorous supporters, and of course, their sleep-deprived team of graphic designers. It’s time to take an inside look at the design language behind the two campaigns—which one packed a punch and which one was on the ropes? werd.
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Designer: unknown Date: July 2016 Colors: Red (#C72035), Blue (#282C68) Typeface: Akzidenz-Grotesk BQ Bold Extended, FF Meta OT Bold Elements used: typography, T, P, slogan, American flag Slogan: “Make America Great Again!”
“What is the T doing to that P?” –John Dingell “It’s just two consenting adult letters being intimate with each other, back off.” –Alex Seitz-Wald (Twitter user) “With a better interpretation of the “TP” monogram, the concept of taking the American flag to construct a logo where the initials take the place of the stars (while not new) is fitting in this case and, if you were (or happen to be) someone to vote for Trump, this is a fairly rallying logo.”–Brand New
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Designer: Michael Bierut Date: April 2016 Colors: Red (#E41E2E), Blue (#274FA2) Typeface: Unity, Mercury Elements used: H, arrow Slogan: “Stronger Together” “I think the Hillary logo is really saying nothing, It’s just a red arrow moving to the right.” –Scott Thomas, design director for Barack Obama’s 2008 presidential campaign.
“I’m just not entirely sure a big red arrow pointing right is the best logo for a Democratic candidate, is all.” –The New Yorker “Obama’s ‘O’ was handled with a certain amount of nuance and elegance and Hillary’s ‘H’ has none of that nuance or elegance, her name is Hillary. We don’t know her as Ms. H” –Steven Heller, design critic and former art director at The New York Times
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The Afro Comb and African Consciousness
by Katie de Klee from Design Indaba
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igerian artist Fred Martins shares his latest collection of politically charged art with Design Indaba. His previous series drew attention to the serious issue of climate change, which was aimed at triggering an emotional response in the viewer—which might then lead to better global stewardship. This new project celebrates African activists, who were jailed for trying to enforce the freedom and fairness for Africans. Using the symbol of the “afro comb,” Martins’ series includes portraits of Marcus Garvey, Martin Luther King Jr., Nelson Mandela, Patrice Lumumba and Fela Kuti.
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Tell me more about the image of the comb? Lately, I started listening to some early 90’s West African highlife music, the nostalgic feeling from that retro world inspired me. Their passÊ style made me brood on our music and culture and later, on the African struggle for freedom, social justice and fairness. And on those that gave their all, breaking into pieces like a comb trying to liberate the scalp from lice. So I illustrated strong and symbolic images in honour of some celebrated African activists and past leaders that still inspire a lot of people. 38
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What do you think is so strong about the comb as a symbol? Afro combs were worn in the 70’s by fluffy-afroed youths in America as a protest against repression and it goes beyond style and adornment, a comb has a strong historical play for Africans. Combs were connected to both cultural and religious beliefs, even though they were fashionable and also used for combating lice, ticks and fleas. The over 5500-year-old Afro-combs discovered in Kemet (Egypt) disproves the present theories that denies Egypt its blackness. It connects Africans to their ancestors.
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Why the bold orange background? The orange color is associated to prison. I realized that most of these legendary activists— from Marcus Garvey, Martin Luther King Jr, Nelson Mandela, Patrice Lumumba, Fela Kuti to Angela Davis—were at some point jailed for enforcing the African consciousness.
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Your characters are not only Africans who lived on the continent, was it important for you to included the diaspora Africans? Africans for me are indivisible, not even by geography. They are treated as one people across the globe and it does not matter their birth place so they are not limited by global mapping. And for sharing the same goal and struggle they should be uniformly honored.
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How good design can help
end cultural appropri
Candice Zamora; September 2015
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f you thought our politically-correct society has eliminated issues of race and stereotypes from advertisements, brand logos, and the fields of web and graphic design, you thought wrong. A more complex and extremely controversial topic is creeping up in American culture: cultural appropriation. Wikipedia defines Cultural appropriation as a sociological concept which views the adoption or use of elements of one culture by members of a different culture as a largely negative phenomenon. Generally, an assumption that the culture being borrowed from is also being oppressed by the culture doing the borrowing is prerequisite to the concept. The Professional Association for Design (AIGA), which is the oldest and largest professional membership organization for design, reports that 86% of graphic designers in the field are Caucasian American. The remaining demographic breakdown is as follows: 2% are Black, 4% are Hispanic/Latino, 6% are Asian/Pacific Islander, and 2% are “other�. This lack of diversity makes the entire career field less credible- after all, how can graphic design be taken seriously if only a certain demographic is creating everything? The real problem is designers are being denied the chance to advocate for certain viewpoints from the actual source of the information. This increases the chances of appropriation appearing in real life and stereotypes appearing in graphic design work.
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Is Diversity Really That Important in Design? In a word, yes. Technology and globalism make diversity and inclusion more necessary than ever in today’s world. From a design standpoint, diversity and inclusion within the field leads to more innovation- we can’t advance without different ideas from different viewpoints. As Americans, we absorb brands, logos, and visual representations into our identities-so they need to be accurate and respectful. It’s important that our culture welcomes expression and participation from all ethnic, gender and socioeconomic populations because their insights and experiences can inform and enrich the lives of our whole society.
So How Can We Fix It? In order to successfully lead improvement and change, design companies must openly embrace more diverse practitioners and retain them through inclusion. The industry as a whole has a responsibility to foster new talent and create communities of contributors who represent more realistic gender and ethnic ratios in order to give everyone an equal chance succeed. Additionally, designers can take measures to avoid placing stereotypes on other cultures. The chances of this happening decrease when diversity is welcomed; designers then get the chance to understand the history behind certain elements of another ethnicity’s culture. The more designers of different backgrounds know about each other the better they can create intelligent and sensitive expressions and avoid appropriation. America can’t afford to lose the amazing contributions that can be made by misrepresented segments of its population, and reaching out to these populations is the first step toward ending racist designs and cultural appropriation. 44
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Why Tattooing Is Universal Olga Khazan; July 1, 2014 Photographs: Chris Rainier A National Geographic photographer explains why many cultures view the body as a blank canvas. Aspen, Colo.—Tattooing, when you think about it, is like smiling: Nearly every culture does it, but not always for the same reason.
and he would ask locals who they most beautiful woman or the most they would inevitably point to the
In a given society, the motivation for covering oneself in paint, ink, or even scars speaks to what the civilization as a whole holds dear.
Often, body modifications go reflecting a necessary part of the tra hood. He photographed one group Guineans who believe all of man from crocodiles, and therefore h initiates scar their skin to resembl reptile.
Chris Rainier, a photographer for National Geographic and other publications, has traveled the world in search of cultures he describes as having “one foot in the Garden of Eden.” (He was also Ansel Adams’s last assistant). Speaking at the Aspen Ideas Festival, which is organized jointly by The Atlantic and the Aspen Institute, he explained how “many cultures around the world believe that the body is a canvas waiting for a story to be told.” From New Zealand’s Maori people to Angeleno gangsters, most cultures incorporate some form of tattooing. But “where the skin is too dark to tattoo, there is scarification,” Rainier said. When he would visit African societies that practice scarification, 46
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To varying degrees, the same is true that practice less extreme versions Smithsonian wrote regarding Rai New Guinea, a swirl of tattoos on face indicates he’s sprawling tatto street affiliation, and may even re mitted murder.”
“They say, ‘This is who I am, and wh Rainier told the magazine. Which j
thought was the t handsome man, most scarred.
beyond vanity, ansition to adultp of Papua New nkind originated have their young le the scales of a
e even of cultures of tattooing. As inier’s work, “In n a Tofi woman’s oos describe his eveal if he’s com-
hat I have done,’” just goes to show,
“the ways in which we mark our skin may vary widely, but deep down we’re all the same.” werd.
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Punk Yet Peaceful Positivity—the Secret to Ethical Design?
Kuwertz, created a felt-tip pen.
While studying in Daily Drop Cap compulsory exerc poster reflecting together on InDe and illustrating t Eventually he fou ticipating in a m
Madeleine Morley; November 18 , 2016 This young Berlin designer walks the line, steering clear of twee Art director and graphic designer M arius Jopen’s work first came to me in the form of a quote from H. G. Wells, written in an off-kilter, cursive style with thick black Sharpie. It was hung on the door of my co-working studio, where he wa s set up for a brief stint. “More than machinery, we need humanity, more than cleverness, we need kin dness and gentleness,” it read.
This hand-written style is a signa ture of his, appearing across the board on identiti es and posters that he penned throughout his tim e working for Mirko Borsche and Stefan Sagmeis ter. It continues to be a staple, featuring thro ughout the continual scroll of the young desig ner’s website and on his work for cultural clients in Berlin and Amsterdam. Having worked for two of Germany’s most in-demand designers and havin g recently garnered attention as a finalist for the Dutch Design Awards’ young designer categ ory, starting his own studio is the logical next step for the 2014 Rietveld Academy graduate.
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Perhaps as an around the sam open network music nights, u people in the Bu distressing ima movement—be
I’m not on e for inspir ational design quot es by any means, but this was n’t what his Welles poster was; the scruffin ess of Jopen’s style m akes it seem p un k , not twee. It has the same effect on client wor k. For a recen t campaign and ide ntity system for the Rotterdam m useum Het N ieuwe Institute’s Th e Body ex hibition, Jopen , in collab oration with Berlin-b ased designe r Ma x
ide with scrawled ll co s d ri g n ea cl h ic h a system in w
akin to the ct je ro p a an eg b en p n Amsterdam, Jo ome an almost ec b as h at th e az cr or poster-a-day created a e h s ar ye o tw st o m al cise for students. For d he’ d put ri g a t u o g n ti n ri p , es on the news headlin pen, collaging ip -t lt fe in it ss ro ac g esign and scrawlin riking simplicity. st h it w es su is x le p m to articulate co was pare h if as g in el fe g, n ti ra und the routine frust ive news. at eg n f o d n u o -r o -g ry mer aily disasters, d in lf se im h g n gi er antidote to subm Foundation. The ve o L e Th ed d n u o -f me time Jopen co utting on p y b ey n o m es is ra s of students and artist g water for in k n ri d n ea cl e d vi ro using the profits to p guilt through g in k vo in f o d ea st In . usia region of Kenya ping positive news ee sw e th h it w e n li agery, Jopen—in tes a conea cr ge sa es m c ti is m ti op elieves design with an
ducive atmosphere for social causes. In order to connect all memb ers of the foundati on together (which now has b ranches in Amsterd am, Berlin, Dresden, Perth, an d Santa Cruz, Ca lifornia), he designed a “Love L ogo” of two interlo cking rings that have become th e only recurring m otif for the posters promoting events. This is what Jopen’s work does—it eleva tes—but its aesthetic is wild, qu ick, and cut-and-pa ste enough, so that there’s noth ing too sentimenta l about it. It’s vital to consider the role of ethics for con temporary graphic designers, a n area often over lo oked, and to highlight who is usi ng their skills for id eological or political purposes. Jopen’s approach— as symbolized in that small a ct of tacking a Cha rlie Chaplin quote to a door—is one that communic ates heart and heft.
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The Draw of War: Walt Disney and World War II
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n December 1941, Time magazine was about to print its end of year issue, its front cover carrying a big picture of Dumbo - that loveable elephant with the gigantic ears who had helped The Walt Disney Studio achieve soaring box office figures that year. But on 7 December, Japanese aircraft attacked Pearl Harbour, abruptly bringing America into World War Two – and ousting Walt’s latest creation from the front page. Yet, if the war led to a dip in Disney’s fortunes, it was only a temporary one. Within just six months, The Walt Disney Studio in Burbank, California, was declared a war plant. Its filmmaking capacity was given over to the Allied effort and its well-loved cartoon characters all enlisted to do their bit for their country - from Donald Duck and Pluto to Mickey Mouse, Snow White and beyond. Through a mix of groundbreaking military training films, features and propaganda shorts, as well as insignia, books, posters, and much more, Disney sought to boost troops’ morale on the frontline and promote government policies on the home front. Disney artists created a wealth of war-related material for many other federal, state, and local government departments and agencies besides Treasury. This illustration was designed for the War Manpower Commission in 1943, to try and convince employees to stay at the jobs they were trained to do and help ease the critical manpower shortage werd.
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caused by men being drafted into the military. It appeared in several magazines and was issued as a poster. While Americans struggled to cope with food shortages and rationing, the citizens of the isolated island nation of Britain suffered even more. In late 1941, Walt Disney had artist Hank Porter design a family of carrots for England’s food minister. The January 11, 1942, New York Times Magazine announced, “England has a goodly store of carrots. But carrots are not the staple items of the average English diet. The problem…is to sell carrots to (the) country.” The front of this flyer features an illustration of Carroty George, and the reverse, six different carrot recipes. The entire family of Disney-designed carrots included Dr. Carrot, Pop Carrot, and Clara Carrot. They were reproduced on a poster, in a recipe booklet, and in an extensive newspaper ad campaign. The cover of the 13th Armored Division’s greeting card featured the unit’s Disney-designed insignia, a collection of bad luck symbols. Men in this unit paid no attention to the superstitious overtones of their unit number. They felt it was the enemy who would suffer misfortune when encountering them. Disney supplied art to dozens of organizations promoting various home front activities, from salvage and scrap campaigns to blood donor drives. This promotional booklet, published for the Los Angeles War Chest in 1943 and distributed to school children, tells the story of Chesty, his two helpers Polly and Paul, and their helicopter friend Coptie. The comic-strip-style story chronicles the group’s travels– dropping supplies gathered by the war chest to children and guerrilla fighters around the world, and delivering money to a boy’s home and a hospital. The story concludes with Polly and Paul returning to school, where they encourage other children to help the war chest with their charitable work. During the war Americans had to deal the inconvenience of food rationing. Sugar and coffee were the first items to be rationed, followed by processed foods and meat and dairy products. This circa 1943 booklet was held ration coupons. Mickey, Minnie, Donald, and Pluto are pictured on the cover, with seemingly satisfied expressions, after leaving the Super Duper Market with their purchases. 52
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Over the course of the war, Disney artists designed more than 1,200 combat insignia for all branches of the US military and for its allies. Besides the famed Flying Tigers insignia, one of the most celebrated designs was made for England’s Royal Air Force. Prior to Pearl Harbor, many American pilots joined England’s Royal Air Force as members of Eagle Squadrons 71, 121, and 133. An entry in a Hearst newspaper insignia stamp album stated, “Walt Disney artists were quick to chronicle the significance of this combat union with an American Eagle ‘on guard.’ Fiercely he advances to contest the fouling tactics of a barbarous and un-sportsmanlike adversary, as he moves in to the attack with his English ‘comrade-at-arms.’” The insignia for the USS Escambia (AO-80) fleet refueler was created by famed Disney artist Hank Porter, the man responsible for creating the lion’s share of combat designs at the studio during the war. Escambia, named after a river that flows through Georgia and Florida, fueled ships during the invasion of the Marshall Islands, aircraft carriers as they launched strikes against the Philippines, task forces vessels supporting the invasion of Okinawa, and aircraft flying raids against Japan. This mobile naval gas station was represented by a 50-gallon drum and Jose Carioca, a character made famous in Disney’s two South American films, Saludos Amigos and The Three Caballeros. Virgil Grier, who served aboard the Escambia said, “Ken Hackett reproduced the insignia on each side of the bridge, where it drew admiring chuckles from the crews of the ships we refueled.” Christmas was often a depressing time of the year for men serving overseas. To help raise morale, many units created their own custom holiday greeting cards. Units with Disney-designed insignia often incorporated their insignia into the design of their cards. This particular postcard was sent out by men werd.
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serving aboard the navy fleet oiler USS Housatanic (AO-35). This tanker saw action in both the Atlantic and South Pacific, where she delivered fuel oil for warships and high-octane gasoline for aircraft. The USS Bunker Hill (CV-17) was an Essex-class aircraft carrier that saw extensive action in the South Pacific. Supporting the invasion of Okinawa, Bunker Hill was severely damaged when two Japanese kamikaze pilots successfully crashed into her. The resulting explosions killed more than 340 crewmen. This 26-page booklet was published by the Aeronca Aircraft Corporation in 1943. The booklet told the story of the Aeronca Grasshopper, a multi-purpose airplane. The Grasshopper was used for artillery spotting, scouting, and air ambulance duties. Disney artists drew all of the illustrations in the booklet, as well as the corporate logo on the front cover. The general public could receive a copy of the booklet by sending 10 cents in stamps to Aeronca’s publicity department.
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This whimsical training booklet was created for the US Army Air Force, Safety Education Division, Flight Control Command. The concept simple: make a manual that would hold the attention of an airman while teaching him the basic principles of cold weather flying in a fun manner. Through humorous sketches, the booklet details the perils Allied airmen could face while flying at high altitudes and in the very cold. The featured characters are spandules, the winter cousins of author Roald Dahl’s mythical gremlins, which wreaked havoc on aircraft.
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The Roots - Things Fall Apart (1999) Photograph: MCA Taking its title from the classic 1958 novel by Nigerian author Chinua Achebe, the artwork for Things Fall Apart draws a terrifying line between the past and the present in its use of a stark, monochrome photograph from the civil rights movement era. It depicts the terrifying sight of riot police chasing two black teenagers — one boy, one girl — down the streets of Brooklyn’s Bedford-Stuyvesant. 56
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Kendrick Lamar’s To Pimp a Butterfly album cover: An Incendiary Classic Parial article by Ashley Clark Wednesday, March 11, 2015 On Wednesday morning, Compton rapper Kendrick Lamar posted the cover art for his forthcoming LP, To Pimp a Butterfly, on Instagram, prompting much excitement. To call its vivid imagery confrontational would be an understatement. Shot in striking monochrome with the quality of a vintage Polaroid, it features a large group of mostly shirtless black men and children – plus one baby, cradled by Lamar himself and, possibly, one woman – arranged in a victory tableau on the lawn in front of the White House. werd.
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This issue of was designed by Tim Haffner at California Polytechnic State University in San Luis Obispo California. He used the typefaces Cormorant, Bebas Neue, and Cooper Black Std to make you feel something.