338.01 Zine 2017 by Tara Ferrari

T Y P E alliance

issue 01 M A R C H 2 017

T Y P E alliance

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16 CONT 7

Letter From The Editor

8

Why Every Designer Needs A Code Of Ethics

16 Why The Activist Poster Is Here To Stay 22 CultureStrike 28 Womens Suffrage Poster Timeline

36 New Logo & Packaging For Dr.Bronner’s Spaces 42 Living With

48 Leif Steiner & Emily Potts interview Brian Sin

28 ENTS

ship Type

nger

42

Jude Landry

letter from the

E D I TO R 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 Type Alliance 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

ISSUE 01 // MARCH 2017 7

why every designer need

CODE OF

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ds a

F ETHICS CARRIE COUSINS

*

Many professions have codes of ethics, a common set of guiding principles that help you make fair decisions.

Codes often protect both the worker and client from poor business practices.

Designers working in a team or individual environment should be working with a code of ethics. Many designers might even follow multiple codes — one set by an employer, one set by professional organizations and one that is a more personal set of rules and guidelines. One thing is certain : Every designer needs a code of ethics.

ISSUE 01 // MARCH 2017 9

KEY PRINCIPLES Although there are various points in every

public at large, distinct customer groups and

code of ethics, most contain a key set of prin-

the community in which the designer works

ciples. Codes often outline the designer’s re-

and lives. Things to consider include taking

sponsibility to clients, how designers should

projects that could result in some degree of

interact with each other, the designer’s re-

harm to the public, the communicated mes-

sponsibility to the public and environment,

sage and its truthfulness, mutual respect

fees and compensation and basic conduct (in-

of the audience, discriminatory actions and

cluding honesty and fair competition).

obligation to serve the community.

DESIGNER’S RESPONSIBILIT Y TO CLIENTS

FEES AND COMPENSATION One of the things that classifies a professional

The principle defines the basic way in which

design as such is the collection of fees and

you will interact with clients. Concepts in-

payment for work. A good code also outlines

clude conflicts of interest, confidentiality and

fees and payments, what kinds charges are

professional responsibility and behavior. How

acceptable, when taking a fee could cause

you decide to interact with clients is import-

potential conflict, how contracts should be

ant and will set the tone for who hires you

maintained and honored, and provisions for

and the reputation you earn in the industry.

estimates (if applicable).

HOW DESIGNERS INTER ACT WITH EACH OTHER

BASIC CONDUCT Often ethical codes outline basic rules of pro-

How designers work with and interact with

fessional conduct. This refers to understand-

each other is just as valuable of a concept as

ing and obeying all applicable laws but also

working with clients. Items that are often

good and fair business practices. Some things

covered by the principle include taking or

to consider include the ability to accept gifts

working on projects started by other design-

for work, refusing work that is unlawful or

ers; fair and open competition in business;

fraudulent and working (or refusing to work)

objectivity; honoring all others’ work includ-

on projects that are purposefully misleading

ing copyrights, trademarks and other design

or deceptive in a way that can cause harm.

property; and working within other relevant and generally accepted codes of conduct.

DESIGNER’S RESPONSIBILIT Y TO THE PUBLIC

PROFESSIONAL STANDARDS Most professional organizations have a code of ethics or standard practices that are a good place to start. If you are a member of

Designers should also think about how they

these organizations, you likely signed off

work they produce can impact the people

on the group’s specific code, saying that you

who will see it. This audience includes the

would work in such a manner that upholds it.

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inspirationde.com

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While each of these codes can be slightly dif-

come to mind? Use those words as an outline

ferent, they all cover many of the same key

to your code. Create this document as an

principles. Here are some of the codes from

addendum to another professional code that

reputable design groups : AIGA, the profes-

you follow. It is perfectly fine to note, “I am

sional association for design, The Academy of

a member of (insert organization and link

Design Professionals, AGDA Australian Graph-

here) and follow their ethical code and stan-

ic Design Association, Society of Graphic

dards. In addition, I also obey by the follow-

Designers of Canada, Graphic Artists Guild.

ing ethical principles listed below.”

OUTLINING A CODE

When developing a code also consider differ-

Developing your personal code of ethics is just as important as following one set by a business or professional group. There are certain parts of the job that are more important or linked to certain belief systems for different designers. If it matters to you and will impact the way you work, it should be part of your

ent work practices and whether they are acceptable: Will you do pro bono (or free work)?

Is entering design contests or competitions important? Will you work on spec or contingent basis? How will you bill and price work (flat, hourly, provide estimates)? How will clients conflicts be resolved?

individual personal/professional code of ethics.

KEEPING A CODE

Designer Rob Russo talks about his code of

Once you’ve settled on a code (or two) to fol-

ethics in “Rewriting the Boy Scout Law for

low, it is important to maintain and uphold

Graphic Designers” on his blog and it is an ex-

said principles and practices. Sometimes this

cellent example of how to outline and create

can be tricky and difficult. So how can you

a code. Russo’s code is based on the Boy Scout

do it?

Law : “A Scout is : Trustworthy, Loyal, Helpful, Friendly, Courteous, Kind, Obedient, Cheerful, Thrifty, Brave, Clean, and Reverent.”

The first step is to stay current with code changes or revisions. Professional organizations often revisit the code annually. Make it

He connects each of these 12 words into a

a goal to read through it at least once a year

“Designer Law” that defines how designers

as a refresher.

should work in terms of “finding, hiring and building a long-term, working relationship with a graphic designer.” He maintains that these 12 words embody characteristics that every designer should have (or at least try to maintain).

Follow Russo’s advice when creating your code. When you think of a good, honest, reputable designer that you admire, what words

Make sure to keep codes that you maintain (or help revise) current with technology. As new methods of creating work are used, they should be addressed in ethical guidelines.

Think about the code in terms of things you will and will not do. Some examples of this include “I will do only original work, respect other designers in my community and com-

ISSUE 01 // MARCH 2017 13

pete honestly and fairly” and “I will not copy others’ work, speak poorly about other designers, bill unfairly or work in deceptive ways.”

BENEFITS OF TR ANSPARENCY Not only should you know what codes of ethics you will work by, it can be a good idea to

“If it matters to you and will work, it should be part of you [and /or] professional code o

let your clients know as well. People like to work and do business with other groups that follow similar business practices. This can

What codes of ethics do you follow? Is there

make it easier for you to work with a client

an organization code that you feel fits your

because they will understand up front how

work and professional goals and standards

you plan to work and do business.

best? Share your thoughts with us in the

Often design groups, individuals and firms will post their own standards and ethical codes on their websites. Three good examples are : Joe Donnelly Design : Freelance graphic, logo, print and web design services; Experience Art and Design, Inc. : Digital design experience group; RJM Web Design: Professional web developer.

In addition to helping you better work with clients, having a clear code of ethics can help you solve problems that fall in gray areas before they really become problems. Any issue that comes up should pass each standard of ethical behavior. If you maintain and follow your own guidelines, you won’t end up in as many tricky situations.

CONCLUSION The way you conduct yourself and business requires careful consideration. Aside from legal concerns, there are not a lot of specifically right or wrong answers when it comes to ethics. The key is creating working guidelines that mesh with your business and personality. What is acceptable for one company may not be for another.

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comments, on Facebook or Twitter.

impact the way you ur individual personal of ethics.�

typostrate.com

ISSUE 01 // MARCH 2017 15

why the act

IS H

Anton io Cas tro

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tivist poster

H E R E TO S TAY R I C K P OY N O R

As a supposedly antiquated form of media,

Now I’m not so sure. Digital networks are

the poster is regularly pronounced to be on

infusing posters produced to contest an out-

its last legs as a means of communication

rage or support a cause with a new lease of

and of marginal relevance now. I have written

life. This kind of message has two places to

pieces myself saying much the same thing.

attract attention now — out in the world

No one doubts that posters used to be highly

and online — and the poster-making urge is

effective as both advertising and propagan-

benefiting from the same viral meme effect

da, but from the moment people in wealthy

seen across our entire hyper-connected cul-

economies started buying TVs and watching

ture. Anything that happens is immediately

commercials, the role of the street poster be-

captured on camera and uploaded, and the

gan to decline (the billboards still flourishing

effect of showing these images so widely and

like an infestation at the roadside are another

easily is to inspire viewers who like what

matter). The arrival of digital communication

they see to do more of the same. Participa-

and then social media appeared to leave the

tion acts like an injectable hormone spurring

poster spluttering for life, and when it came

yet more growth. Since the global Occupy

to the protest poster, the prognosis looked

protests, there seem to be more posters, or

just as gloomy. If ordinary posters aren’t much

poster-like messages, used in demonstrations

needed now, why should posters expressing

than ever.

dissenting views fare any better? Five or six years ago, I would have said the poster advocating a cause was barely viable.

Protest posters have never been an exclusively or even primarily professional design activity.

Anyone with an urgent point to make and a ISSUE 01 // MARCH 2017 17

“…the poster-making urge is benefiting the same viral meme effect seen acros entire hyper-connected culture.” measure of artistic knowhow could get out

py, the BP oil spill in the Gulf of Mexico, the

the scissors and take up a brush. This is even

earthquake in Haiti, Hurricane Katrina, the

more the case today with the graphic placards

Japanese earthquake tsunami and the nu-

often described as “protest signs” rather than

clear disaster at Fukushima. In the past few

posters. After protests, it has become common

years, passionately concerned poster-makers

to see online news media running visual sto-

have given their support to innumerable

ries with titles such as “The 50 most enjoyably urgent causes, from migrant workers, Guaneffective protest signs at Occupy protests.”

tanamo Bay, Palestine, women’s rights, child

Websites offer school children advice on “How

labor, and landmines to water wastage, nu-

to make a protest sign for a school project”

clear power, the protection of wild life, urban

and put across their legitimate point of view.

farm gardens, and the plight of WikiLeaker

Radical poster-making almost seems to be be-

Bradley Manning.

coming a badge of good citizenship.

As graphic communication, the most salient

These DIY protest signs might be amateur

characteristic of these recent posters is often

(though that doesn’t stop them working as

a surprising politeness and restraint. Twen-

communication) but they remind us that

ty years ago, a volume of protest posters

posters remain a succinct, popular and pow-

produced during the presidencies of Ronald

erfully immediate form of public speech. If

Reagan and the first George Bush earned the

someone feels strongly about an issue, it’s

title Angry Graphics, and the graphic styles

natural to try to express support or condem-

of the work — awkward, angular, discordant

nation as persuasively as possible, and in

and ugly— smashed home the righteous fury.

public settings a well-crafted slogan or image

Contemporary posters might be fired by angry

is still hard to beat. The posters come from

convictions that iniquity or injustice should

a seemingly irrepressible urge to broadcast a

not be allowed to continue, and that change

firmly held opinion using graphic resources,

must happen soon, yet the images are often

and they address a wide of array of issues,

decorously barbed rather than manifestly

many of which have been, or remain, at the

disturbed. They display bright colors, serene

center of attention: global warming, Occu-

flat surfaces, well-resolved forms, an ideal of

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g from ss our

ISSUE 01 // MARCH 2017 19

20 TYPE ALLIANCE www.represent.us

graphic reduction, and a very contemporary

graphic artists want to devise the best pos-

polish, if not perfection, that tells of their

sible image they can, but a persuasive, easily

origins on a computer screen rather than

graspable representation of the cause often

inky paper taped to a grimy drawing board.

has more utility.

At its most considered, this fastidious graphic minimalism can be highly effective. The foetally clenched form of the dreaming child in Marlena Buczek Smith’s Haiti poster works by invoking distressing images of emaciated and vulnerable children familiar from countless news photographs. In Antonio Castro’s equally honed and incisive migrant workers poster, the spade’s shaft becomes a painfully exposed spine distorted by the demands of crushing physical labor.

At the same time, we should be realistic about the part that posters might still have to play.

There is a tendency sometimes to judge expressions of protest and advocacy, including posters, by ridiculously overblown yardsticks.

“Has anything changed?” demand the skeptics. “Because if it hasn’t, then the gesture was a failure, and making posters was misdirected energy and a waste of time.” The claim that in an age of social media posters have become redundant simply doesn’t square

The tasteful understatement of many recent

with the continuing enthusiasm with which

posters, their reluctance to shout, perhaps

they are made and put to use. The poster is

reflects a deeply ingrained feeling that em-

clearly just one of many creative, intellectual

phatic displays are no longer acceptable—

and organizational tools in the struggle to

that they run the risk of appearing shrill

shape public opinion and exert pressure on

and dogmatic. This inhibition, born of years

policy-makers grasping the levers of power

of affluence and complacency, when only a

that might some day lead to change. Wheth-

minority felt the urge to protest, has less-

er held aloft in the hand at demonstrations,

ened since the global financial crisis began

pasted defiantly on a wall, or circulated online

in 2007. The homemade protest signs show a

by true believers, the graphic message’s mod-

new public willingness to speak out with vig-

est but necessary role is to attract attention,

or and wit. To find uses on the street, where

encapsulate a burning issue, exhort, inspire

the mood is increasingly frustrated, as gov-

and reaffirm. Despite regular predictions of

ernments seem either reluctant or powerless

its imminent demise, the committed poster

to act, professionally produced posters need to

shows every indication of living to fight on.

avoid any sense that they are aesthetic parlor games detached from the struggle. There are some marked differences between work produced for private satisfaction or for sale as a screen print, which can sometimes be overworked and effete, and work produced with the crowd, the streets and the urgency of direct action in mind. It’s understandable that ISSUE 01 // MARCH 2017 21

CU

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Ernesto Yerena & Shepard Fairey

U LT U R E S T R I K E CO LE T TE GA ITER Associate Professor of Visual Communications University of Delaware

Starting in Tunisia, spreading to Egypt and

vocating passage of the Dream Act, which

eventually everywhere, resistance to dictators, would allow conditional permanent residency government policies and economic inequali-

for people brought to the U.S. as minors after

ties had such a global impact that Time mag-

they lived here five years.

azine declared “The Protester� person of the year for 2011. In the United States, the Great Ape-Snake War movement, an idea conceived by the Canadian activists of Adbusters, mobilized on September 17, inspired by the Arab Spring protests.

By mid-October many members of the CultureStrike delegation were actively involved in Great Ape-Snake War—protesting, making posters, writing, speaking, performing, and using social media. Protests against stricter immigration laws, massive deportations and

One week earlier, in Arizona, a group of more

economic inequality overlapped in their ef-

than 50 artists, designers, writers, musicians,

forts to draw national attention to everyday

& activists gathered in Tucson to initiate the

practices that most affect the lower classes.

CultureStrike Coalition National Campaign ag-

One of the most resonant ideas in the Great

ainst harsh immigration policies. I was part

Ape-Snake War movement is the huge dispar-

of this delegation, organized by Bay Area ac-

ity in wealth controlled by one percent of the

tivist Favianna Rodriguez, writer Jeff Chang

U.S. population compared to the amount held

and others. They chose Arizona because of

by the other 99%. The CultureStrike delega-

recent protest activity against its SB (Sen-

tion wants to remind everyone that we are a

ate Bill) 1070 that put into place some of the

nation of immigrants, but current economic

most brutal methods of enforcing immigra-

conditions promote scapegoating undocu-

tion restrictions to date. Arizona was the site

mented workers and escalating deportations.

of massive protests against SB 1070 and adISSUE 01 // MARCH 2017 23

The catalyzing idea behind CultureStrike was

Dignidad Rebelde is a “collaborative graphic

that creative producers have power in dissem-

arts project that translates stories of strug-

inating information that might affect people’s

gle and resistance into artwork that can be

attitudes on political and social issues, even-

put back into the hands of the communities

tually resulting in meaningful change. Immi-

who inspire it.” Recently the collaboration

gration issues and the economic inequalities

between Oakland-based designers/activists

driving the Great Ape-Snake War are on the

Jesus Barraza and Melanie Cervantes has

front burner of American politics as the 2012

turned its attention to the immigration and

election approaches. Several CultureStrike

Great Ape-Snake War initiatives. Barazza’s

designers have been using their images to

“99 Percent” poster is included in the Great

raise awareness about these and other issues

Ape-Snake War Journal folio along with one

for years.

by Favianna Rodriguez, CultureStrike orga-

Emory Douglas, former Minister of Culture for the Black Panther Party and prolific designer and activist for more than 40 years, was among the group. His powerful posters have influenced many of the younger designers, including Ernesto Yerena, who recently

nizer and Bay Area activist. The newsprint folios are reminiscent of the Black Panther and other 1960s and ’70s radical tabloids that featured large images for posting. Produced in multiple languages, the posters are designed for specific communities.

moved to Arizona from California. Yerena

The Arizona-protest designers knew their

created the campaign “Alto Arizona” a call to

works would have a visible street presence

action, asking artists and designers to create

when they were carried in protests and would

posters for a viral campaign, which were then

reach an even wider audience across the

published and sold to help fund the protests

internet, on news sites and blogs. The speed

against SB1070. In addition to designing post-

of media creates almost-instant iconographic

ers, Yerena creates multi-layered collages with

images, like the one by D.C. artist César Max-

silkscreens and/or stencils on top. His studio

it of Troy Davis, who was executed in spite of

is called Hecho Con Ganas —“made with moti-

late-breaking evidence in his case and wide-

vation, desire, passion.”

spread protests. These designers are masters

The CultureStrike designers use technology strategically to get their messages out quickly and virally. They conduct silk screening workshops to teach young people how to cheaply produce a run of posters for a rally or demonstration. Using social media, they allow down-

at fast and efficient reproduction for getting graphics out in the streets quickly. Favianna Rodriguez and Josh McPhee, who runs the organization JustSeeds, created a book of reproducible and copyright-free images for use in activist work.

loading of their posters for quick distribution. Digital access and tools afford graphic deYerena’s “Decolonize Wall Street” poster went

signers the means to distribute images and

viral on the internet, then appeared in multi-

ideas with unprecedented speed and pro-

ples at Great Ape-Snake War protests.

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a sto Y eren Erne

ISSUE 01 // MARCH 2017 25

duction quality. Graphic design has always been part of social protest. The Occupy Wall Street Journal folio, for example, is a nostalgic throwback to cheaply printed newsprint posters from the mid- to late 20th century.

Clear ideas expressed in poster slogans, combined with good design and striking images allow grassroots designers to compete with powerful corporate interests in capturing the public imagination. Designers like those in Culture Strike hope to use their power to influence opinion, raise consciousness, and encourage people to act for change.

“Clear ideas expressed in poster slogans, combine good design and striking images allow grassroots signers to compete with powerful corporate inter capturing the public imagination.”

About the Author: Colette Gaiter’s writing on the Black Panther artist Emory Douglas has appeared in several publications including the Rizzoli monograph “Black Panther: The Revolutionary Art of Emory Douglas” and just-published “West of Center: Art and the Counterculture Experiment in America.” She is working on a documentary about Douglas and his work.

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Ernesto Yerena

ed with s derests in

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WO M E N S poster timeline

playbuzz.com

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S U FFR AG E

*

Posters have been used to advocate rights for many people over the years, women have used design to fight for their rights. On the next page, you can find a timeline of posters with strong imagery and messages illustrating woman’s suffrage to fighting stereotypes.

ISSUE 01 // MARCH 2017 29

1907

Anonymous

Duncan Grant

1909

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1915

Henry Mayer

1943 J. Howard Miller

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1975

See Red Women’s Workshop

1977 See Red Women’s Workshop

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2007

Shepard Fairey

2011 Andrea Bowers

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2011

Workshop in Ecuador taught by Timo Berry

2013 Theresa Wlokka

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2013

Memac Ogilvy & Mather Dubai

2017 drawnbymary/etsy

ISSUE 01 // MARCH 2017 35

new logo

DR .

S PA

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& packaging for

B R O N N E R ’S AC E S H I P T Y P E ARMIN VIT

Established in 1948, Dr. Bronner’s is a man-

age of 21, working with various soap compa-

ufacturer of certified organic and fair trade

nies in the East before establishing himself

soaps and personal care products that in 2014

in the 1930s in Milwaukee and dropping the

had a total revenue of $80.3 million with their

first syllable from his last name. In the 1940s,

popular liquid soaps accounting for 67% of

now a self-titled doctor, Bronner began to

it. The company is well-known for treating

draft and persistently share a plan for world

their 130-plus employees exceptionally well

peace in “Spaceship Earth” through unity of

and for their philanthropy, contributing up

religion. In 1945 Dr. Bronner was arrested for

to $8 million worth in financial, in-kind, and

speaking without a permit at the University

direct action contributions. Their products

of Chicago and institutionalized in the Elgin

and overall brand have a cult status and a

State Insane asylum. He escaped six months

lot of it has to do with the company’s uncon-

later and fled to Los Angeles. There, in his

ventional origin story and text-filled packag-

small apartment, he began mixing soap

ing, which I will quote below from our book,

with a broom handle, which he sold while

Graphic Design, Referenced:

expounding on his theories at the Pershing

The descendant of three generations of German soapmakers, Emmanuel Heilbronner immigrated to the United States in 1929 at the

Square public park. When he noticed people bought his soap but did not bother to listen to him talk, he started writing his philosophy on the labels.

ISSUE 01 // MARCH 2017 37

“What made the previous labels so great was that they were utterly un-designed. Al the text was justified and although there was some hierarchy it wasn’t as didactic”

In the late 1960s, Dr. Bronner’s Magic Soaps

pany introduced a revised version of their

gained popularity with the hippie culture

packaging. No design credit given.

because of its all-natural ingredients, durability, and its equal effectiveness in cleaning groovy locks of hair, bell-bottom jeans, and Volkswagen vans. Packaged extremely simply in brown plastic bottles with one-color labels — the text on Dr. Bronner’s products became evolving soliloquies on its founder’s philosophy, referred to as “The Moral ABC.”

In 2014, Dr. Bronner’s added 13 stars to our corporate logo in reference to the cosmos, which inspired Dr. Emanuel Bronner’s ALLONE vision, and continues to inspire the company. The stars acknowledge that all our work happens within a larger cosmological context.

The labels of the 32-ounce soap package each

The smaller stars can be seen as representing

carry as many as 3,000 words expressing Dr.

the 12 constellations of the zodiac or the 12

Bronner’s thinking, which references every-

tribes. The brightest star represents our sun

thing from Mao Tse-tung to Albert Einstein,

or the Eternal father.

Joseph Stalin, and Halley’s Comet. Dr. Bronner passed away in 1997, but his sons maintain his legacy and are overseeing their increased popularity. The Bronners have declined purchase offers, and while sale may still be a possibility, the labels will be safe: A provision in the company’s charter states they must remain the same. This March, the com-

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Together the stars add up to 13, a number with mystical meaning in Judaism as well as other religious traditions. The placement of the stars uses a pattern from Metatron’s cube, an ancient geometric figure which uses 13 circles to create all the platonic solids, and which represents completeness, perfection and wholeness.

ll

ISSUE 01 // MARCH 2017 39

We will start with the logo, redesigned a

and history of the brand, as well as reflect

few months before the packaging, it seems.

the modern ethos and style of the current

A fairly simple evolution, the logo keeps

generation of the Bronner family and the

the globe shaking hands but with a slight-

products’ contemporary customers and fans.

ly better drawing of the elements. I never I thought I would say this but the swooshes in the new logo are much better. Gone is the Medicine Man typography and in its place is a combination of Futura and…Trade Gothic Condensed (?) that looks quite well with the bold amounts of blue of the icon. The 13 added stars looked completely randomly placed but, like all things Dr. Bronner’s, the rationalization and grid blew my mind. It’s not a good logo by any means but at least now it’s a much tighter unit.

Modeled after the aesthetic of the original labels on bottles of soap first created by Dr. E.H. Bronner in 1948, the “Old & Improved” labels preserve and affirm the authenticity

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“Our new product labels honor the legacies of our grandfather, Dr. E.H. Bronner, my father Jim Bronner, and my Uncle Ralph who have each helped shape this company into what is today,” says David Bronner, President of Dr. Bronner’s. “Each label contains this special pledge that represents a distillation of my grandfather’s philosophy that adorns our labels, while summarizing our mission and purpose as a company: In all that we do, let us be generous, fair & loving to Spaceship Earth and all Its inhabitants. For we’re ALLONE OR NONE! ALL-ONE!” Most people know Dr. Bronner’s from the serif packaging so, at first, seeing them go to an all sans approach would seem like sacrilege

but the evolution image shows that the serif

There are a few more of those product sheets

version is the odd one out. What made the

here and they are all equally awesome. The

previous labels so great was that they were

text border on the sheets is so dorky and

utterly un-designed. All the text was justi-

ill-advised that no other company could pull

fied and although there was some hierarchy

it off. I’ve always found Dr. Bronner’s fasci-

it wasn’t as didactic as we’ve all been doing it nating and I think this change makes their through our careers. The new labels are defi-

products even better and more convincing

nitely designed by someone concerned with

while at the same time demonstrating a keen

spacing and legibility. You could argue that

sense of brand continuity and consistency

some of its soul has been sucked out but in

that few other consumer products have.

terms of doing a meaningful evolution with-

All-one!

out sacrificing the original intent, this succeeds quite well. These products are instantly recognizable on the shelves of the grocery store because of their typographic texture and this new version keeps that initial impact and then keeps you hooked with the onslaught of text. Also, the revised visual language extends perfectly to whatever product the Dr. Bronner’s team puts out.

ISSUE 01 // MARCH 2017 41

LIVING

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WITH: DA N I B A L E N S O N

*

WHAT EX ACTLY IS LIVING WITH :?

Living With: is a project dedicated to em-

Each shirt in the initial Living With: collec-

powering anyone dealing with mental health

tion has a design that was developed based

to be confident in themselves and their ap-

on the common behavioral patterns of a spe-

proach to handling daily obstacles. It started

cific mental disorder. While a single disorder

as a college thesis and it’s grown to become

can have a very broad range of characteristics

a nationwide social endeavor that sparks

and affects each person differently, there are

new conversations and new perceptions about

core behavioral patterns that persons living

mental health. Living With: is the degree-proj-

with each disorder experience. The meaning

ect-turned-real-project of Dani Balenson, a

behind each design in this series can be bro-

recent graduate of the Rhode Island School

ken down to color, module, and pattern.

of Design and designer working in Brooklyn, New York.

ISSUE 01 // MARCH 2017 43

PATTERN STUDY : ADHD The color combo for ADHD is made up of

thing to another. It is a visual deviation

green hues. As a symbolic color for creativity

in thought and action: the color shifts, the

and growth, green correlates to the fact that

size changes, and the bigger circle is left

ADHD is often (but not always) diagnosed

unfinished. The pattern is a slightly skewed

at a younger age. Both hues are bright, as

repetition of the module, which creates the

the disorder also results in an energetic and

bigger picture of an energized, unfocused,

hyperactive persona. The module represents

and lively mass.

an ADHD person’s distracted train of thought and the tendency to bounce around from one

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PATTERN STUDY : BIPOL AR DISORDER The color palette for this design is comprised

high points because of the expected low on

of violet and bright blue, which represent the

the horizon. The depression pattern is ref-

high and the low poles that a person living

erenced by the shape of the low, to create

with Bipolar Disorder cycles between. The

a language for the designs as a series. As a

shapes within the module visualize the shift

whole, the pattern consists of multiple mod-

between high and low mood states, known

ules arranged to create tension between the

as the drop. Individuals living with bipolar

up and the down, while ultimately remaining

disorder often describe the drop as the hard-

a single shape.

est part and not being able to fully enjoy the ISSUE 01 // MARCH 2017 45

PATTERN STUDY : DEPRESSION The depression shirt’s color palette is made up of subdued monochromatic purples, with the deep violet being visually heavier than the red-violet. The module is designed to convey a sense of internal weight pulling down while remaining vertical as a whole shape, to signify a sense for longing for uplifting happiness. As a whole, the pattern also reinforces the feeling of being weighed down, while also portraying a layer between the inner self and the public self.

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PATTERN STUDY : OCD The color combo for OCD is comprised of multiple yellow hues because of the color’s connotations of stress and alertness. The arrangement of shapes in the module represents the systematic anxiety that triggers compulsions and how it shadows an OCD individual at all times. As a whole, the pattern has a rigidity and exactness that reflects the intentionality of the ritualistic actions performed by an individual living with OCD.

ISSUE 01 // MARCH 2017 47

Leif Stein

BRI

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ner & E mily Potts interview

AN SINGER O C T O B E R 0 4 , 2 016

VOCATION Artist, Designer, Protaganist EXPERIENCE 21 years LOCATION San Francisco Brian Singer has been employed by some of the most progressive design thinking companies in modern times including Apple, Facebook, and Pinterest. Most designers would cut

share their sentiments in a blank journal and pass it on for the 1000 Journals Project, to exposing people who are driving and texting by placing their photos on billboards, to his

off their right arm to work for these compa-

#pileoftrump campaign, Singer has created

gig at Pinterest to pursue personal projects.

and driving—what is safe. (bio photo: Skyler

nies, but Singer—although grateful for the ex- controversy and discussion about what is and isn’t tolerable—or with the case of texting perience—walked away from his most recent

Singer, aka someguy, has become widely lauded for his pet projects which have netted national publicity, not only in the design community, but among mainstream media outlets such as The New York Times, the Today Show, CBS News, Huffington Post, and more.

Vander Molen.)

His main goal with most of his projects is to connect with strangers and to have strangers connecting with each other. Here, we ask him about his experiences, his personal projects, and what’s next.

From inviting strangers to collaborate and

ISSUE 01 // MARCH 2017 49

foods are bad for you, there’s no money to YOU’VE WORKED FOR SOME HIGH PROFILE, DESIGN-DRIVEN COMPANIES. be made with what I do. I have fantasies of WHAT’S THE BIGGEST TAKEAWAY finding a patron, or financial support for my FROM THOSE EXPERIENCES? endeavors, but until then, I’m just going to Every company (design driven or not) has keep doing things I believe in. real, challenging, business problems to solve.

And no matter the company, I think it’s safe to say that design isn’t easy. Probably the biggest takeaway is that while design skill is

Everything is a trade-off, and most of my ideas don’t have commercial value.

succeed and have an impact. You need stra-

SO, IF YOU DON’T MAKE MONEY WITH THESE PROJECTS, HOW ARE YOU GOING TO KEEP THE LIGHTS ON?

tegic thinking skills, empathy, holistic prob-

Seems like that would require a plan, which

lem-solving, leadership, great communication,

I don’t have. I’ve saved up for long enough to

the ability to hire and motivate talent, and of

give me some time to figure it out, but other

course, you can’t be an asshole. You know, all

than that, who knows? I tend to be a planner,

the things they don’t teach in design school.

and very methodic in my decision making. It

important, it’s not the only thing needed to

YOU RECENTLY LEFT PINTEREST TO PURSUE YOUR SIDE PROJECTS FULL TIME. ARE YOU CR AZY? WHY? Yes to the first question. As to the second… see the first. Pinterest was probably the best job I’ve ever had, and I’m really lucky and appreciative to have worked there. Over the last decade though, I’ve spent more and more time focused on art and side projects. About a year and a half ago, I got a studio to work in. I began spending my evenings and weekends there, and eventually realized that’s where I wanted to be all the time. It comes down to the choices we make with how we spend our time and money. I say this now, but check back in with me in a year because who knows, maybe I’ll be off on some other tangential pursuit.

feels good to jump without looking. Scary, but good. I know I can always get work to pay the bills, but for now, that’s not a priority.

WHAT PROJECT HAS BROUGHT YOU THE MOST JOY/FULFILLMENT & WHY? This was the last question I chose to answer, which means it was the most difficult. Not because it’s too hard to pick, but I think it’s because I don’t necessarily associate personal joy/fulfillment with many of my projects.

Not sure why, but that’s probably for a therapist to figure out. I’d say that the project that was the most fulfilling was the journal project with UCSF Benioff Children’s Hospital.

Seeing the journals have a real and positive impact on kids dealing with such difficult and scary situations melted my heart. It was an emotional roller coaster. At the same

YOU DO A LOT OF POP-UP/CONTROVERSIAL PROJECTS…HOW DO YOU MAKE A LIVING DOING THIS?

time, it’s one of those things where I feel a

Uh, I don’t. The same way all the best tasting

hospitals. It worked for a few, but not many.

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bit of guilt for not doing more. I tried to get more journals projects to happen at more

ISSUE 01 // MARCH 2017 51

The hill was too high to climb, and eventual-

I was hoping for someone like a phone mak-

ly I let it fall to the wayside.

er, or car company, or insurance company to

HOW DO YOU GET THE FUNDING TO DO A PROJECT LIKE TWIT SPOTTING? DID YOU PAY FOR ALL THE BILLBOARD ADS YOURSELF? DID ANY OF THOSE PEOPLE COME AFTER YOU FOR EXPOSING THEM FOR TEXTING WHILE DRIVING?

help me blow the project out and really make a dent in the problem, but no such luck. Can you imagine what I could have done with that $8M? As for people coming after me, no. However, I did get plenty of angry comments/emails,

Going corporate opened my eyes to a few

and even a few death threats.

things. One of them was bonuses. When that taking about what they were going to do with

WHAT IS THE MOST TROUBLE YOU’VE EVER GOTTEN INTO FOR ONE OF YOUR PROJECTS?

their bonus checks…a trip, buy themselves

I don’t think I’ve really gotten into trouble.

something nice, etc…Me, I bought billboards.

I’ve had people get angry at me, lots of them,

That’s the funding. I paid for everything

but no one’s ever come after me or anything.

myself because I couldn’t find anyone else to

Maybe I’m not taking enough risks.

time of year came around, I’d overhear people

pay for it.

that year. In the end, my approach received

HAS THERE BEEN A PROJECT YOU’VE WANTED TO DO, BUT THOUGHT IT MIGHT BE TOO RISKY, OR DOES THAT NOT EVEN ENTER YOUR MIND?

more news coverage and caused more discus-

Well, I’ve had no problem cutting up the Bi-

sion on the issue.

ble, but have clearly stayed away from certain

I think the government spent $8 million on their distracted driving awareness campaign

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“Reassess who your heroes are.” other religious texts. So there’s that. I’d like

figure, and a process which is kind of hard

to do more public art, but have hesitated due

to explain, involves cutting up the books and

to the legality of it (and none of my projects

assembling the image of the gun using the

are going to get a grant or be approved by

edges of the paper. I’ve also been cutting up

a committee somewhere). All in all though,

books with red/green edges, and sorting that

most of my projects are limited by resources,

paper into gradations. They’re really quite

not risk.

beautiful. And, I’ve been dropping books around San Francisco, in the hopes people

WHAT IS THE ONE PIECE OF ADVICE pick them up and read them (and contact me).

YOU’D GIVE TO A YOUNG DESIGNER? It’s a novel way to connect people, I think.

Reassess who your heroes are.

WHAT ARE YOU WORKING ON NOW? I’ve always got like eight projects in motion.

I’m working on a series of pieces around assassinations (so, JFK, Malcolm X, John Lennon, etc.) and the guns used to kill them.

These are all using books about said political

ISSUE 01 // MARCH 2017 53

Salt

ED PA

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ltwater Brewery creates

DIBLE SIX AC K R I N GS H E AT H E R G A L A N T Y

The devastating effects that plastic six-pack

and edible—constructed of barley and wheat

rings can have to both wildlife and the en-

ribbons from the brewing process. This pack-

vironment have been proven time and time

aging can actually be safely eaten by animals

again. While many iterations of the packag-

that may come into contact with the refuse.

ing have been seen over the years, here’s a look at a very creative and sustainable alternative to the standard six-pack ring.

Saltwater Brewery in Delray Beach, Fla., re-

Head of Brand at Saltwater Brewery Peter Agardy says, “It’s a big investment for a small brewery created by fisherman, surfers and people that love the sea.” Brewery President

cently released edible six-pack rings, a brand- Chris Gove notes, “We hope to influence the new approach to sustainable beer packaging.

big guys and hopefully inspire them to get

These six-pack rings are 100% biodegradable

on board.”

ISSUE 01 // MARCH 2017 55

CON

T R I B U TO RS *

The content for this magazine was collected by students in Art 338–01, taught by Charmaine Martinez at California Polytechnic State University during the Winter Quarter of 2017.

DESIGNED BY: Tara Ferrari TYPEFACES : Futura ITC Officina Serif STD Bulletto Killa

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