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dat boi aestheticÂ
A beautiful design aesthetic hon hon hon hon
AskMeAnything - Process #4
Using photoshop and a tablet I loosely experimented with compositions, trying to gauge a certain approach to take. It helped in seeing what compositions had the most impact and which were just wasting space. Especially with such colourful subject matter I wanted to utilise as much as possible.
The lack of guillotines used in this project was disturbing. Just on convenience alone I decided to do all the cutting myself, Iâm pretty sure my dexterity and deftness of hand doubled during this assignment.
Possibly the most challenging part of assembling this zine was cutting out the circular page markers that showed a part of the inner zine from the cover. There was probably a much easier method that could have yielded better results, definitely improved my hand-eye coordination though...
AskMeAnything - Reflection
When setting out on this assignment there was a cynicism in me that assured that there wasnât any way I could reach the artists I drew inspiration from. Mainly for the reason that they were highly successful in what they did and most likely wouldnât have time for stumbling first year students. I think this exercise helped break my stigma of not reaching out into the world for fear of being perceived as obnoxious.Â
My list was heavily influenced by being active on Deviantart during high school; on this massive platform I was able to draw influence from literally thousands of different artists and their techniques. However there were some stand outs that I though were particularly brilliant and inspired the illustrative style I have.Â
Etam Cru - The only artists I found outside of the online platform, unfortunately I had no reply from these guys.
Pete Mohrbacher - similarly, no reply...
Lois van Baarle - replied and interviewed c:
Wojtek Fus - also no reply :c
Nadia Cao - A very close friend of mine who I admire and knew would be available for an interview.
I wasnât expecting a high turnout of replies within the first four so I cast my net wide by immediately sending them all a request, this worked favourably as three of them did not end up replying at all.
Lois was very accommodating with my requests and agreed to be interviewed. When creating questions for her I wanted to reach into the emotional significance of her craft and display the facets of her personality. Therefore I tried to avoid blatantly obvious questions, or at least make them slightly tailored to Lois in order to get a more personalised response.Â
After I decided to pursue designing a zine I drew up thumbnails for concepts I felt would best display Loisâs works. Her illustrations tended to be very loud visually, so I decided to utilise this strength in order to create very prominent sets of pages by making the images the overwhelming focal point. Lois had a plethora of works, all very beautiful, but I decided to streamline a small selection of works that I felt best represented her current style. This allowed these visually strong pieces to be overwhelmingly prominent in the design and more impactful on the reader, in comparison to a layout with a more extensive selection of artworks.
I wanted to contrast this eruption of colour with a very banal cover to the zine; I felt the taupe colour felt quite earthy and contrasted well with the saturated hues within the zine. I used the rough, natural texture of the cotton fabric on the cover to contrast again with the slick, semi-gloss commercial print stock to emphasize Loisâs bold works. Early on in the design process I predicted that this may wash out the cover altogether, so I cut a circle into the bottom corners of the zineâs design in order for the saturation of the works inside to be alluded to on the cover.
Gill Sans MT Regular was the only typeface used in this zine, apart from Georgia for the isolated parts of the interview. The sans serif did well to not compete with the highly complex illustrations in the spread, instead complimenting them by not complicating the hierarchy.
I decided to utilise the kirigami I had experimented with earlier to bring some movement into the zine. I felt that, despite the different textures displayed, it lacked true character and any sort of differentiating quality and this technique could lift it out of its 2D boredom. By following the contours of the illustrations I mapped out areas, cut them and then folded them to create the finished piece.Â
Overall I am happy with the final product I created, however I feel the important and enjoyable part of this project was experimenting with paper in peculiar ways. I found there was so much more to consider than what to lay out on a spread, so many more elements to manipulate in a zine as long as you were willing to tackle them, and I suppose this is a perspective that should be transferred onto future projects. This has made me more knowledgable for subsequent projects and has made me more confident in tackling completely new mediums and techniques.Â
Interacting with an artist that has influenced me for the past four years was exciting and intimidating as I wanted to do her work justice, I feel like I've succeeded at least in part in this endeavor. This assignment broke down some self conscious barriers and instilled a bit more confidence in my design thinking and in my interaction with the creative network around me.Â
A look at the inner pages of my zine~
AskMeAnything - Process #3
Yo so I decided to desecrate the lives of hundreds of trees again with more paper bending.Â
This time I took my inspiration from kirigami, which is a japanese art similar to origami, however in this instance you can cut as well as fold the paper.Â
Just like my photography skills right here, my first attempt was tedious and unrefined. Mainly the fault of the weak cartridge paper I used, but I liked how there was suddenly so much more interest with such a refined technique, and it was a quality I wanted to transfer when I created my zine. (excuse the masking tape to hide my shoddy job with an x-acto knife)
I found it awesome how very simple cuts and 1 sheet of paper could produce something that had this much impact. This was probably the most simplistic of the designs I tried but I found it to be the most practical, in the way it could potentially present information inside a zine as you opened it.
And hereâs the antonym of the one above; here I tried to see how far I could take it - taking reference from a photo I found on Pinterest. This took about 1 hour of cutting and folding and was entirely impractical for the purpose of a zine as it could not fold down flat, but why not aye. It was useful in that it expanded my knowledge of how the more complex design of kirigami worked, and informed me of how I could use it in my own application.Â
Also looked good when it was backlit, sort of wish I couldâve incorporated light somehow and made this work. Ahh, there is next time...
The most common designs Iâve seen in kirigami are variations of this; admittedly it does look good, and there is a strong sense of movement when this design is opened. The variations, which folded into rectangles rather than the squares I made here, I found were slightly tricky to fold as a beginner but provided a greater sense of movement.Â
AskMeAnything - Process #2
I was initially going to pursue creating a website for my interview as I wanted to incorporate different media, however this proved to be too steep a learning curve for the time frame I had, so I decided to just go with a boring oleâ zine.Â
Anywhoo I immediately searched for ways to twist the paper craft into something more interesting, so I started experimenting with copious amounts of cartridge paper.Â
Here I tried to distance myself from the standard zine design by experimenting with folding. While it yielded interesting results, I found that it wasnât particularly accommodating for the amount of information I was going to have, and made the flow of information a bit staggered.
Tried to bend trendy shapes to my will. While the design of the paper wasn't great, I did experiment with using stitching as binding, which I think worked well aesthetically at least, it gave a very tactile quality to the zine.Â
Here a lilâ oleâ close up of two types of novice stitching I tried, probably could have tried a cross-stitch in hindsight as well.Â
I found working with such cheap material really widened my scope of potential ideas as I wasn't particularly interested in creating beautiful looking pieces. Really helped me hone in on techniques and challenging concepts.Â
AskMeAnything - Process #1
From my 4 top candidates I received a reply from my 3rd candidate, Lois van Baarle, or by her online monicker loish. Even though she was lower on the list, she had a deeper relevance as she had influenced me for far longer than anyone else on it. I was pretty obsessed with illustrating during high school so to me she was some sort of ethereal being.Â
When putting forward my questions for Lois I took into account she had conducted many interviews for publications and I endeavoured to create a list of questions that I had not seen broached in her previous interviews. Her large presence online proved somewhat of a detriment as this meant a lot of her personal life was already known and thousands of questions from fans had already been answered publicly on her platforms.
So I opted to take a more emotional approach to my questions rather than leaning towards the technical aspects of aesthetics, which is what was usually addressed in her F.AQâs and posts.Â
With the swamp of messages she receives via her social media I was cynical that she would have the time to reply or even see my email in time, however I received a reply relatively swiftly from her with her answers.Â
Below are the unedited answers from Lois:
1. Personally, creating has always been my escape; have there been times where your art helped you overcome adversity? I can't say that it has helped me through a specific hard time, but it has always been a very important way for me to unwind and bring my mind to a slower, more meditative state. When I take breaks from drawing for a bit - for vacation, or like the last few weeks when I was busy with a move - I get very stressed and strung out very quickly. When I'm drawing regularly, my mind is a lot calmer. It's something that keeps me more or less stable.
2. At what point in your creative journey so far have you felt the most challenged and why? I'd say that was in 2011, in my second year of being a freelancer. I didn't have as much paid work as I do now, and spent a lot of time doing personal work, but I was not feeling inspired. I focused heavily on a personal project and looked for a way to get it funded with subsidies intended to support artists, but was rejected for that. That phase didn't really pass until about a year later, when I suddenly felt very inspired and started sketching a lot. My work suddenly improved a lot and I felt like I had gotten out of a rut. The only way I got through that time was to just stubbornly keep drawing and not give up.
3. How do you think practicing the creative arts and being in that culture has influenced your character and how you view the world? It has influenced me to a huge degree. I'm very passionate about what I do, and I do what I love, but I've also had to face developing a repetitive stress injury from drawing too much and sitting in a bad posture. This has taught me that it's important to do what you love but also that free time, and taking breaks from work, is one of the best things you can do for yourself - if you can afford it and have the freedom to. And I guess being surrounded by other artists and working in a field where a lot of people have liberal ideas with an emphasis on personal freedom and individuality has resulted in me developing similar views as well!
4. At what point in your life do you feel your art progressed the most, and why do you think this was the case? I think that's when I first started out. I was so passionate and had so much time and energy to draw all the time. It was also before I ever developed an injury so I could basically draw non-stop without any problems. I wanted to learn so much! I've definitely developed a more steady pace of improvement now, but in the beginning, there was such a huge difference in my skill level from one month to the next.
5. What advice would you give to your younger self, in either art or life? In art, I would tell myself to get in shape and try to prevent repetitive stress injury before it ever takes hold. And also to draw what I love despite what friends or teachers say! In life, I'd tell myself to be more accepting of myself and that the difficult years of being a teenager and being in your young twenties will stabilize over time.
Bonus question! (Optional) Cats or Dogs?
Cats! Just because I have one :) I like dogs too though!
She was entirely sweet and even apologised for taking too long, while I was feeling lucky to even get a reply câ:
Interviews
1. Etam Cru
A collaboration between Polish artists Sainer and Bezt, their stylistic large-scale works are bold and boast a beautifully surreal aesthetic that channels influences form Eastern European folklore and mysticism as well as witty humour.Â
Their work is quite iconic and inspiring for me, however as they are both very successful and travel around Europe (as well as the language barrier) it is very unlikely they will accept my request.
2. Peter Mohrbacher
A digital artist based in the United States, his art is intricate and transforms the ethereal figures of religion into breathtaking pieces of art that convey their worldly energy and almost omni-potent nature.Â
3. loish
A digital artist quite notable on online platforms, loish has been a very present inspiration for my art over the years with her distinct illustrative style. Her often unconventional use of colour in tandem with human form is very unique.
She replied to my request saying that sheâd be happy to, whoop whoop!
4. Wojtek Fus
A concept artist, Iâve only known his work for a few months, but they are always breathtakingly composed and demonstrate such a thorough knowledge of light and form.
5. My friend
As my last option I chose a fellow artist and friend to interview, she has consistently been by my side as we both evolved our artistic styles and is very inspiration in her overcoming of adversity in order to pursue her dreams.Â
Right now Iâm just composing questions like crazy for loish.Â
Ack this is so nerve-wracking, my teenage-hood inspiration is going to think Iâm an idiot.Â
This is so satisfying to look at. Iâm also wondering if this word were manipulated enough could it form an ambigram (read upside down as well as right side up)? Amazing how even with a quick glance we can instantly pick up the fact that the word is âminimumâ rather than a scribbled line.
Cool how our brains can perceive a word just by the correct alignment of curves, though I guess that can be said for all type. This is particularly interesting because of how vague it is.
A few images from my sketchbook where I was experimenting with distancing myself from the type of art I had been practicing for the last 10 years, namely, purely illustrative art. Here I aimed to just explore colour, shape and line freely without the constraint of a subject.
I found I was drawn to organic shapes, which was expected as I preferred to use animals and nature as my subjects when I illustrated. Iâd like to incorporate more straight line geometry in future, though.Â
This was fun as I was free to combine different elements, with no need to consider keeping to a style or theme. Itâd be cool to see if I could incorporate type into this as well to create something a bit surreal and wacky.Â
140gsm hahnemĂźhle sketch / copic multiliner (0.1 , 0.5) / prismacolor pencils / red sharpie c:
Type exploramajiggy
Over the last couple of weeks I took to experimenting with some rough forms to get the idea of how I could manipulate typography physically.Â
I saw this sort of manipulation of paper on my feed quite frequently so I took to replicating some form of it, I feel I could evolve this much further, but its a good toe in the water to expand my arsenal of techniques.
Again I very rough concept, done purely by eye rather than drafting it properly (which would have been smarter) still I like the dynamic of shape and form.
A fairly odd experimentation, I feel like a lot could have been done better, like the type and use of solid shapes in the background. But it served a purpose of playing around without much pressure to create something brilliant. Was inspired by a common theme of designers to blur the line between type and image.
Wireframe letters by Dan Hoopert
Woah, its like a skeletal look at type or something. The wire is utilised so beautifully to achieve that scaffold-like structure. The varying in density of the wires adds dimension as well, the gradients achieved are really stunning.Â
I feel the tactile characteristic of the wire also makes it much more interesting. It lends a higher sense of perspective and depth through its 3D structure and subtle shadows. I feel those effects would be lessened if it was drawn purely in ink.
a B C D project on Behance, loladupre.com
An awesome use of collage to create typography out of buildings. There is a high level of intricacy in Dupreâs work that I haven't seen anywhere else. The seamless finish of her work can be deceptive in revealing just how much manipulation has occurred; just look closer and youâll see the hundreds of pieces of paper perfectly aligned to create a surreal piece of âarchitextureâ.
urgh, I guess I had to use that word in context at some point.
Kurt Schwitters, Merz Picture 32 A. Â The Cherry Picture 1921
The piece as a whole is quite harmonious and presents a cohesive collaboration between colour and texture. The darks are used strategically to frame the piece, the irregular additions of red provide reprieve from the neutral atmosphere.
I feel it is a very busy piece, it brings me connotations of an old artists home, lived-in and authentic. It exudes a very charming sense of developed character through the layers and textiles.
Damage control
So I got home on a Wednesday, having not unpacked my bag since Monday because of who I am as a person, when I find my collage completely torn off its paper and crumpled at the bottom of my backpack.
Obviously Iâm thinking of the global ramifications of this when I realise that the folds of my paper look very interesting and better than the initial design I did with the pure cutting and twisting. Not sure yet if this illustrates the adequacy or inadequacy of myself as a designer, I re-mount the folded cut of the magazine on a sturdier piece of watercolour paper.
On a whim I used some metallic paints to flesh out the design (since I completely lost the poor womenâs head from my original collage) and I think it added interest to the piece.
The sharp shadows added a second level of complexity, but I think it worked in its favor, the folds also add dimension with the light interacting with it like a 3-dimentional object opposed to a flat piece of paper. Looks less like a collage now but I still find it intriguing. Definitely not something Iâve done before.
finetec pearlescent colours/200gsm watercolour paper
Studio Collage
STUDIO 09052016
Decided to take out my anger on some poor lady in a magazine. We played with the medium of collage in this studio, a technique I personally have never dabbled in seriously. The majority of this workshop was used to find the right candidate to viciously maim. Many of the models in the magazine that was available to me sported similar poses, none of them dynamic, so instead I tried to make a interesting design utilizing the scissors more effectively.
The scissors themselves were restricting, used to cutting with an x-acto knife, I was bound by their lack of dexterity. Initially I was trying too hard to control the paper and get exactly what I wanted. This however proved to be a enraging task that eventually resulted in me feeling sulky and dejected. Half way through I changed my mindset to not give a shit about the tightness of my paper curves and hacked away, disregarding my mental barriers which wanted to preserve certain areas. The resulting design was much more cohesive and less derivative of the source material.
decided to add some dimension in the end purely by accident by twisting the paper. Ended up with something that was much more visually interesting.
I think this studio really helped me to let go of my tendency to try to control every aspect of my art and design and instead try and work with the material and see where the material itself leans towards and following its natural progression. Iâll definitely be experimenting with collage more in future.
Gender Inequality in Design
Today in our lecture, was the mention of the gender inequality within the design industry. Something I found extremely interesting. At first, I suppose my ignorance drew me to thinking that this canât be right. I have a 50/50 split in gender of design teachers, and every one of my classes is female dominant, in fact, sometimes Iâm the only male in the room. However when talking about Bauhaus and the gender inequality there, and the fact that many highly successful designers are male, everything became a little more clear.Â
In society, we have this ânew ageâ idea that women can be anything. That they should be allowed to be whatever and whoever they want to be. And in my mind, thatâs 100% correct. If you want to be the prime minster, feel free. If you want to be a stay at home Mum, feel free. If you want to be CEO, feel free. If you want to be an escort, make sure youâre well paid ;) My point is, society at this current stage, puts into the minds of young women that they can be anything. And theyâre told to idolise the women who have been successful. However, in practise, I donât believe this is correct. This isnât realistic. I truly wish it was. But for some reason, our society is fine with women working behind a desk, but not fine with them going any further. And itâs quite disgusting actually. We say âyes! go women! Be successful!â but then we donât let them. Itâs quite strange.
Over the time frame of this semester, Iâve been silently taking note of all the conversations had in class, and who is the leader in them, who is the most dominant person. I mentioned it to a few people in the first week of class actually, and I think that the realistic answer of who dominates the conversations in class, isnât that surprising. Think about it. We have 2 lecturers, and who does the majority of the talking in class? Andy. Or if weâre tasked with starting a group activity, Iâve physically seen men become the predominant talkers. Who leads the group activities? Think back to all of the group activities weâve had. Who dominated? In Week 1, we took things out of our pockets and made a typeface. On our table, Sam lead the group. In any class topics with David, Iâm usually the one questioning things and putting my opinion across. If weâre ever talking about a theoretical topic, Atticus is always there adding in a view point. If thereâs ever a discussion had in a lecture, Tristan seems to always have a great viewpoint on things. Is this subconscious or is it somewhat biological? I donât know. Is it a mans physical strength and deep voice that asserts dominance? Iâm not too sure. But I just found it curious that as a class, we were talking about the outside world as if was disgusting and should change, but I donât think we are much different at all.Â
During a discussion about gender inequality in design, in a room dominated by women, very very few (like, 2) actually voiced an opinion. 2 women that seemed like they knew what they were talking about and had definitely had discussions about feminism in the past. But why were so many women sat back and not talking? I donât know. For once in my life, I didnât join in on the discussion, but it was interesting to sit back and listen.
I do think that Atticus had a very good theory. What if we deleted the gender walls, and paid less attention to biological sense, and introduced everyone as a person and not as a penis or vagina? What if we stopped dividing everyone, and brought everyone together as the human race, by not labelling everyone and making everyone tick a âmaleâ or âfemaleâ box. Why are we so dependant on gender? Although itâs somewhat unrealistic for this modern day and age, itâs a good question. What if?
Perhaps I should start wearing high heels to Uni in protest. Hm.
And todayâs topic and discussions really evoked me a thinking: Objectively, are males really masters of any domain than women are? As we can observe that not only in the design industry, others like music, arts, literature and cook⌠Most masters in these domains are males. Certainly it has historical factors and influences as in old days womenâs ability in workplace were greatly restrained in the patrilineal society, therefore less chances for them to develop and confirm higher status in most industries where males have been practiced and domain for thousand of years. But I am questioning, whether it is because men decides almost every thing (well, in old times), that for a long period of time our standards and system of appreciation on design is potentially developed and built up based on their mode of thought? In other words, female and male are essentially different in both mental and physical aspects. If all requirements and standards of been a master in a field towards a foundation of male thought, this can even refers to their gene, then does it possibly mean females can never reach as high as men does because they are radically different? Alternatively, I started to wonder if it was women who domain the society, would all of our recognition and appreciation towards design radically changed as it would based on female thought? would it be a parallel because it is not comparative as two totally different structures?Â
(Sorry for my poor English, I am trying my best to explain such a big topic XP)
I like this perspective! To drive even more conversation, what are some of the genetic mental and physical differences that youâre referring to that may have influenced how things turned out in history?Â
Your english is very good, by the way.Â
Thanks Tommy :) And it is a good question that I need to have further researches on the topic to answer. Here is a description I found in an article written by Michael G. Conner, Psy.D in 1999 [1] which helps to explain one potential genetic mental difference that may have influence on design:Â
âWomen tend to be intuitive global thinkers. They consider multiple sources of information within a process that can be described as simultaneous, global in perspective and will view elements in the task in terms of their interconnectedness. Women come to understand and consider problems all at once. They take a broad or âcollectiveâ perspective, and they view elements in a task as interconnected and interdependent. Women are prone to become overwhelmed with complexities that âexistâ, or may exist, and may have difficulty separating their personal experience from problems.
Men tend to focus on one problem at a time or a limited number of problems at a time. They have an enhanced ability to separate themselves from problems and minimize the complexity that may exist. Men come to understand and consider problems one piece at a time. They take a linear or sequential perspective, and view elements in a task as less interconnected and more independent. Men are prone to minimize and fail to appreciate subtleties that can be crucial to successful solutions. A male may work through a problem repeatedly, talking about the same thing over and over, rather than trying to address the the problem all at once.â
So here he clearly states the differences as women tend to be more intuitive when solving problems, able to collect, considerate information at the same time and find interconnection within elements, while men are more single-minded that one specific problem at a time, then move on to the next one. Iâm still rather struggling to imagine and tell what it would be like for a design system or structure established by females, maybe thatâs why males dominant the society as women are more likely to be in an equal, uncontested relationships and situation where classes and hierachys dismissed. Anyway back to our topic, here I can find a strong connection in thinking pattern between the way males solve problems and the way we solve problems in design process. Our I&I course is just a good example - We are asked to follow the steps one by one: you think of an idea first, then you draw drafts, then you get advise from other, you craft it, you color it, and finally it comes out- Perfectly clear and linear order that divides designing process into independent sections in orders to minimize the complexity. To be honest, at this moment I kind of find out why I always have confusion when I design, because I myself, as a female, often consider all the procedures at the same time, I need to make sure the idea is practicable and feasible enough before I even start it, so when I decide on one idea I actually have also decide on the color scheme and even the final look. It sort of conflicts to the order what I have been taught, and that is where the confusion came from. I donât know if I am particular one who act like this, but I believe myself as a case to test the hypothesis I made above. And I am reversed of saying that the design process approaches implemented by the college is definitely better. Letâs say maybe they are just different, we may also reach another totally different outcome by shifting the designing process, and who knows what would happen?Â
Wow itâs really interesting to investigate in such a hypothetic topic! :) Hope my answer isnât too long.Â
i agree with Yusa that there are physical and mental differences between male and female. yes, at the end of the day we are all humans and we are all the same, we are one species. but we are somehow unavoidably different, and those differences have influenced so much of our lives. imagine when humans first appeared on earth. we first discovered we were humans and we could do things. there mustnât have been any gender roles then right? but not long after, we found that some of us are faster and stronger, they know how to spy on animals and catch them and kill them, others of us are more observant, considerate and good at multitasking, we know how to tell the differences between poisoned vegetables and edible ones and we know how to cook and make everything nice and neat. we were good at different things, so we worked on different tasks. it wasnât like the one who hunts is better than the one who cooks. without any of us, we wouldnât have survived. it was balanced and it worked, and thats probably when the concept gender was really âcreatedâ. but what was wrong is that someday a male claimed himself to be the leader of everybody and decided that hunting is better than cooking, thus we should pay the hunters more than the cooks. well, then some women may be like, hey, since youâre paying the hunters more, iâd like to try to hunt! there, we were trying to cope with these ânew rulesâ. and the leader said no no no, you canât hunt, itâs a manâs job. and thatâs when everything went wrong. i guess Iâve put all these in a metaphorical way and what i mean is people are different, we do different things, thatâs totally cool. but all these things we do, there is no way of judging what is better than what. and if we want to choose what we do, we should be able to. even if that woman tried hunting and ended up dead, thatâs her choice, and you just canât take away our right to choose. maybe it wasnât even because she really wanted to hunt or she cared about the money. maybe it was because she wanted to make sure that there is no discrimination happening here, there is no superiority over certain people.Â
Iâve put all this in a metaphorical way, since that man leader appeared, through thousands of years, men and women started to go on different paths. and now what we have is this modern society where this problem is finally being put on the table. Iâve always believed that if something is done to an extreme, to an extent that it canât be pushed no more, it will turn the other way. women finally stopped trying to cope with this issue and decided to fight for our rights to do things and to not do things. still, itâs not about the job, the things or the money itself, itâs about our choice. itâs like everything is on a scale, on the left side of the scale, men have the things they do and the choice to do/not do other things, but on the right of the scale, women have the things they do but not the choice to do/not do other things. and we need that choice to find balance. because what we want, is not a way to a female dominant world. we only want the balance, the equality, and keep it that way.
Repost: Gendered design
Iâm going to jump in on this conversation because the idea that Andy sparked has really created much discussion! (I did find it hard to differentiate certain points and arguments so I am just going to put forward my opinion)
 I also found it interesting that our course is quite obviously female dominated. Itâs something that I hadnât really considered all that much up until nowâŚI hadnât questioned why our course is very female dominated, and to be honest I am still wondering.
David Cutter mentioned at the beginning of the year, that throughout this course we will essentially learn about ourselves. Part of that is our gender â as a male or a female. I agree with him in that as men and women, we literally see things differently, we do things differently. David also noted that 9/10 he can pick whether a design had been created by a male or a female. I find this such an intriguing observation â it makes me think; is design gendered? As males and females, do we have a completely different perspective of colour and shape?
As I circulate the room in our peer review sessions I think this as well â I am immediately aware when I am at âthe boys tableâ. Their designs are just different.
Now that I consider it, all of the key designers that Andy has talked about were male (as he made note of). Personally, I think that this is because up until recently (Iâd say the last 50 or so years), women didnât have as greater opportunity to enter the world of design. As Andy said, women were not so common at the Bauhaus, simply considered to be a ânecessary evilâ.
I thought Iâd do a little of my own research to get some consensus on this idea of the under representation of women in design. Cohn (2013) lists the most 30 influential designers of all time, just one is female. I looked at a few others such as Kuan (2011), 50 most influential designers â which had similar statistics. However â the majority of these designers are pre-1950, a time when design was more male-dominated as a profession. I feel if this list is reviewed in another 40 yearsâ time, women will have a far greater presence, simply because we will have been a part of the industry for a greater period of time.
Personally, I think that women as a part of design is still gaining momentum (albeit very slowly). The arts and crafts movement in the 1890âs saw women becoming more involved in the commercial part of design. Womenâs traditional skills âsuch as cross stitching, had been more a hobbyâ, this was seen as the only design that women were capable of. But the arts and craft movement saw their involvement inâ typography, calligraphyâŚillustration and bookbindingâ Irwin (2010). âBy the end of the first world warâŚ.women had penetrated design schools, workshop and professional training)â (Irwin 2010).
In the 1980âs, women designers are noted for being a key part of the fashion industry â but still few and far between in terms of architecture and graphic design.
It is interesting to note that in America there was a more dramatic increase in female designers from 25% to 53% in 1980-1985 â women in the design industry was gaining traction. Particular fields of design tend to be more female dominated, for example, book and magazine publishing and of course, fashion, as explained by Irwin 2010.
It is understandable that the early days of graphic design, the industry was male dominated as this was a time when women rarely worked, but in the second half of the 20th century, women have become more career orientated. Still their contribution to the graphic design remains under-rated.
One point that I would like to look at -
@yuicai - So here he clearly states the differences as women tend to be more intuitive when solving problems, able to collect, considerate information at the same time and find interconnection within elements, while men are more single-minded that one specific problem at a time, then move on to the next one.
I wonder if this would influence how women design and how men design? As women, do we create more complicated and intricate designs? Is intuitively, part of our nature? I find it so interesting that this lecture coincided with our gender attitudes toward colour in Image & Identity. This prompted me to think about our attitudes not only of women, but of women toward menâŚ.
Anyways- thatâs my rant overâŚ
References
Coh, H (2013), The 30 Most Influential Designers of All Time, weblog post, July 22nd, Complex, viewed 12th May 2016, http://au.complex.com/style/2013/07/influential-designers/
Irwin, R (2010), Gender Inequality & The Role of Women within graphic design, ebook, viewed  12th May 2016, https://issuu.com/rachel_irwin/docs/itc_report_rachel_irwin
Swah (2011), Some thoughts on the gender inequality in graphic design,http://loveswah.com/2011/07/some-thoughts-on-the-gender-inequality-in-graphic-design/
A very comprehensive dialogue on this topic.
I would also ponder on how much of the perceived difference between gender, and masculine and feminine is due to the accumulation of societal bias over the centuries influencing our upbringing, and how much is physical.
Are we trying to justify an effect of influenced upbringing with biological difference or is there truly that much disparity between the sexes? Coming from a country where women were advised not to walk on the street alone (mind you at any time of day) for fear of assault, I witnessed the beating down of womenâs sense of worth first hand not only in my own community but in my own school.
I still remember being berated for speaking without the needed âgraceâ of a female at around 6 years old and being hit with a ruler if I was talking too loud, despite the fact that the boys were doing the same without the same aggressive reaction. This in itself made me opt to stay quiet and not voice my opinions, however it was the accumulation of pressures from my family and that society that continued to keep me introverted until I was around 14. The females in our family were considered uncouth if they voiced their opinions too loudly or opposed the maleâs decision, if they displayed any aspect of strength really.
This plainly highlights how even if a female had the potential to become someone who was confident and pragmatic, they had no opportunity to evolve in such a restricting environment.
Of course this is a extreme example; the western world has made major leaps in progress for equality towards all in the past century, and Australia is no 3rd world country, however I have no doubts that there is still residual bias in the form of values that are put on us while our sense of selves are still developing, and this may play a part in why males are perceived to be more dominant.
It would be interesting to see what kind of individuals would be the result of an upbringing and environment that had no bias; would the biological difference be more apparent then, or not at all?
And what would that mean for design; would it be indistinguishable over the sexes or would the biological parameters of our genders still show through?Â
This font is almost cathedral-esque in its form. Its a very heavy and highly illegible font, it could very well be mistaken for a decorative element in a composition. However it does generate intrigue as it is such an antonym to what is considered effective design today. While the thought of it being paired with other elements doesn't make me terribly enthusiastic, the use of such a bold and visually spectacular font as a solitary element in a design could work well.Â