Gender & design

Week 4- Gender

All categories we have explored are connected! (race, class, nature and gender) The issues don’t exist as separate experiences. This has become clear in our 4th week of exploring these categories. We should touch on this fact in our final presentations.

We first looked at the difference between sex and gender:

https://www.thenewsminute.com/article/understanding-sex-and-gender-they-are-connected-not-interdependent-44437

sex, being the biological difference between men and women. and

gender being a social construct, in people’s perception, people’s experience of themselves. These are the accepted rules and traditions; social norms.

I then read this article about social norms, from ICON magazine:

How does gender relate to design?

  • design has been a male dominated industry
  • semiotics of objects: products are designed with masculine and feminine qualities in mind. Packaging colour for example, is targeted to males or females, for example children’s toys and clothing. Baby dolls and ovens for girls and cars for boys.

Over-determination = adding an extra layer/ forcibly attributing meaning to an object.

Commodities = objects bought and sold as part of the global, capitalist system. Has a price/ an exchange value.

Gender branding

Toys “used to police the training of the young into assuming the ‘correct’ gender.”

(Not natural but historical.)

“patriarchal society benefits greatly from encouraging gender roles.”

This perpetuates a divided and rigid society. It might be profitable to keep things divided?

Gender price gap

Pink objects or women’s jeans cost more than men’s objects. It’s not rational- it doesn’t cost more to colour something pink.(It’s not to do with the quality of the object.)

Gender division = profitable. It allows them to over-price objects- particularly pink e.g. Bic biros for women. Not natural but social. (not just about colours)

The Fawcett Society is a membership charity in the United Kingdom which campaigns for women’s rights. The organisation dates back to 1866, when Millicent Garrett Fawcett dedicated her life to the peaceful campaign for women’s suffrage.

De-gendering and Re-gendering

There are now gender neutral collections from different companies, this wasn’t around 5 years ago for example.

What does De gendering mean?verb (used with object), de·gen·der·ized, de·gen·der·iz·ing. to free from any association with or dependence on gender: to degenderize employment policies. to rid of unnecessary reference to gender or of prejudice toward a specific sex: to degenderize textbooks; to degenderize one’s vocabulary.

regender (third-person singular simple present regenderspresent participle regenderingsimple past and past participle regendered)

  1. To gender anew (and differently).
    1. To cause (a person) to be seen to have a (new, different) gender identity or role. quotations ▼
    2. To cause (a thing or subject) to be gendered in a new or different way; to be associated with a new gender or with new genders. 
Pacsun launched its first kids label, Pacsun Kids, with a gender neutral collection. 

Last week, JCPenney became the latest retailer to debut an inclusive apparel line that features gender neutral options.

JCPenney is joining the ranks of other retailers, including Gap and Pacsun, in building out more inclusive fashion lines. The growing trend among major retailers shows the category is becoming more mainstream.

Similarly, Eric Archibald, creative director of streetwear brand Diplomacy, told Modern Retail that major apparel retailers launching gender neutral lines was a long time coming. Brands are launching these new lines because more consumers are expecting these types of items. At the end of the day, he said, “it’s all about the money.”

Beyond joining a global style trend, Archibald said there were “obvious benefits” to developing gender neutral lines. “For instance, you’re only creating one collection, so development costs are going to be lower than if you were designing multiple, more gender-specific collections.” 

Pointlessly gendered products

Explain why and how the objects bear a gender connotation. (Not only colour, but other features too.)

Object 1: the bicycle

Looking at women’s bikes, they are mainly pastel coloured, sometimes with white wheels, have a lowered cross bar and are sold with an attached basket. Men’s bikes are bolder in colour, have black wheels, a straight across cross bar and no baskets in sight.

The designers expect the woman to need a basket. Perhaps for shopping, a handbag or a small dog (as seen in one advert).Maybe a woman would want the colours of the bike to match her outfit. The implication is that women are expected to be fashion- conscious and men to be practical.

As for the crossbar, something I’ve often wondered about, a quick google search gave me this explanation. The crossbar provides extra strength to the bike’s structure. Why would only men need this extra structure? Does this imply that men are heavier than women? This isn’t always the case. The lowered cross bar historically was made for women, due to the wearing of skirts and dresses. Women wouldn’t need to raise their leg as high and so risk being indecent.

The question is, why does the women’s style of bike remain the norm in the present day when women often wear trousers? How high you can comfortably raise your leg is not dependent on your gender but on the individual’s flexibility. To me, it seems like tradition and accepted norms keeps these designs in place.

Object 2: the razor

men’s razors, gillette

Razors do the same job: remove hair. But the designs for men’s and women’s razors are noticeably different. The men’s razor looks more robust and stronger physically. The colours reflect masculinity. The part you hold is heavier, but this isn’t necessary for the shaving process The shape and metallic colour of the razor overall,  implies sharpness and strength in tackling hair. This is to appeal to a masculine straight-forward approach. The women’s razor has a light-weight handle and rounder, curved shape. The pastel colours express a pleasant shaving process that is gentle for the skin.

Other objects our classmates thought of: pens/ stationary, football shirts (lower neckline, tighter fit), kinder surprise chocolate, perfume and aftershave, Kleenex man size tissues, Yorkie bars, clothing (men’s jumpers are warmer).

1st wave feminism

Suffragettes were the first feminists. They were fighting for the women’s right to vote. This was in the 19th century. The suffragettes were middle class, white and educated. Because of this, their movement did not include all women.

Switzerland was the last European country to allow women to vote.

The Missouri Woman from June 1916, the Suffrage issue Poster

2nd wave feminism

Occurred between the 1960’s and 1980’s. (although this is debated).

The issues they were campaigning about was :

  • pay equality
  • reproductive rights
  • female sexuality
  • domestic violence

Class-wise, this movement included women from a different demographic. (Broader groups of women not only well dressed bourgeois women.)

In the 1970s, feminists began to fight for the right to abortion.

They were questioning housework for the first time. Linocut illustrations were used for these campaigns. In this era, women didn’t get pensions or help from welfare. They were dependent on their husbands, so in a way, marriage for a woman, could be seen as a form of slavery.

3rd wave feminism

In the mid 1990’s, the movement was explosive. They celebrated the differences across race, class and sexual orientation. It wasn’t a mass/widespread movement, but an academic discourse, involving artists and underground scenes- transgressing traditional representations. The feminists expressed androgynous femininity and gender bending, as seen in the photography by Nan Goldin.

“Trixie on the Ladder, NYC” (1979): Goldin “showed life as it was happening.”Photograph by Nan Goldin / Courtesy Matthew Marks Gallery

Nan Goldin’s “The Ballad of Sexual Dependency” (1986) was Goldin’s first book and remains her best known, a benchmark for photographers who believe, as she does, in the narrative of the self, the private and public exhibition we call “being.” In the hundred and twenty-seven images that make up the volume proper, we watch as relationships between men and women, men and men, women and women, and women and themselves play out in bedrooms, bars, pensiones, bordellos, automobiles, and beaches in Provincetown, Boston, New York, Berlin, and Mexico—the places where Goldin, who left home at fourteen, lived as she recorded her life and the lives of her friends.

4th wave feminism

Modern day-

Concerned with:

  • trans inclusivity
  • body positivity
  • me too movement
  • trans black lives matter group
  • identity blending
  • interest in ecological issues (more than in the past)

Feminist Interrupted, Lola Olufemi

“Separating feminist history into waves, ignores the invisible struggles that haven’t been recorded.” e.g. the women from Suffragette movement had slaves who would have been women of colour. This history must also be written.

Women living under colonial rule had different struggles than the 1st wave feminists had.

OWAAD -London- 1970’s

Black women in Britain: Organisation of Women of Asian and African Descent

‘The rise of Black feminism in the UK can be traced to Black women migrants from the Caribbean, Africa and the Indian subcontinent, who came to Britain after World War II. The emergence of the Black Women’s movement had its roots in post-colonial activism and the Civil Rights struggles of the 1960s and 1970s. It sought to give voice to the specific issues that affected them including race, gender, class and sexuality, and how they intersect.’

3 kinds of type: handwritten, sans serif, green serif type.

FOWAAD!

Organised activities, produced printed matters.

‘The focus of OWAAD’s campaigns centred around health, education, employment, immigration policy and the police. Their newsletter, FOWAAD!, was used to communicate with larger numbers of Black women across the UK.’

cutting around image silhouettes, underlining type, interesting title of publication using arrows.

Intersectionality

Methodology to address social problems. (Kimberle Crenshaw coined the phrase in 1989)

‘Kimberlé W. Crenshaw is a pioneering scholar and writer on civil rights, critical race theory, Black feminist legal theory, and race, racism and the law. In addition to her position at Columbia Law School, she is a Distinguished Professor of Law at the University of California, Los Angeles.’ 

Identifies multiple factors of advantage and disadvantage e.g. one category not represented in the workplace. Black women not treated as well as white women or black men. Look at cases through the lens of more than one category e.g. caste, disability, gender, class, when we judge cases of discrimination.

Movements are not all good or bad. They can have progressive elements and problematic elements.

Neo-liberal feminism

Neo-liberal= last phase of capital development.

Models that question the welfare state. Hyper capitalistic economic model. Low taxes, support of private investment.

Defunding of the welfare state. Benefits some demographics.

Neo-liberal feminism-

‘inequality’ is a state that can be overcome (a matter of will) without overhauling the system.

Ivanka Trump Women who work is an example of this. (being an entrepreneur- ideology of self-empowering.)

Queer, trans, drag and gender neutral

Travis Alabanza TED Talk

artist, performer, writer

  • Different kinds of warrior
  • acceptance of self- compassionate. Reassuring others who feel the same (transgender or gender non-conforming).
  • We’ve each been told what we are at birth ‘you’re a boy or girl’. Trans people declare ‘that’s not who I am, that doesn’t fit.’
  • Can look many ways
  • ‘going outside, we experience this differently- public transport. Being thrown objects at, called names. 150 people saw this and no one did a thing. Violence in silence. Active choice to say nothing. Normalised attacks on gender non-conforming and trans people.
  • Every time they step outside!
  • Difference in how violence is perceived, whether it’s towards cis or trans gender people.
  • Delivery- poetic to listen to. Change in rhythm = enjoyable.
  • Storytelling rather than lecturing, asking audience to respond.

Exercise 2: Cultural jamming

Identify a contemporary ad which is gender biased. How would I amend it?

Print it and use a pen to indicate where I would intervene.

For example, Jill Posener: erase, ridicule, interrupt. (Image or the text)

It could be a still from a video or a poster image.

Jill Posener
Jill Posener

My response:

Typography & meaning

Type is essential for effective communication.

Type can:

deliver a concept or express an opinion.

The way text is displayed will add meaning to the words themselves.

By changing layout, spacing, punctuation etc, we can portray a certain message. For example, the boldness of ‘Kindness’ in the sign below, suggests that kindness can be bold and robust. The height of the word ‘Strength’ illustrates strength itself.

design by Anthony Burrill

British graphic designer, Anthony Burrill is well known for his prints which often contain bold statements that are punchy and effective.

By repeating the word ‘Justice’, Burrill is making a statement about the importance of justice. When people are passionate and certain about something, they repeat the sentiment. This is further emphasised by the black and white. When something is in ‘black’ and ‘white’, metaphorically it means there are no doubts about it. Here Burrill is using this in the literal way.

Words are powerful.

They invoke emotion, feelings and ideas. They are powerful because of their ability to encapsulate a concept.

Words can be transmitted from person to person, often in an instant format. This is why memes are powerful. Because of the speed they can be shared and the way they need to be understood quickly, means they are also put together in a way that is simple and concise.

In a small space, a lot of meaning can be packed. This includes imagery and experiences. Stories can be packed into a few words.

Extinction Rebellion

Extinction Rebellion are a movement set up to tackle the climate change problem.

They use guerilla marketing strategies to get their message across, for example civil civil disobedience and demonstrations. They create a disruption, sometimes spreading flyers where they aren’t allowed to.

They use bold, big statements in uppercase type. The typeface they use is similar to Futura, but with rounded edges. Sometimes images function as letters, i.e. skulls.

Their symbol is an abstracted hourglass. This emphasizes time running out and the circle is a symbol of the Earth.

Black Lives Matter poster (left)

This poster was designed by the anti-racist advocate Sophie Williams. She puts her message outside in the street for the public to see.

She uses repetition, different angles and spacing to add emphasis to her message.

Climate Crisis font by Helsingin Sanomat. This is an example of variable font.

Helsingin Sanomat, abbreviated HS and colloquially known as Hesari, is the largest subscription newspaper in Finland and the Nordic countries, owned by Sanoma. 

Variable fonts are an evolution of the OpenType font specification that enables many different variations of a typeface to be incorporated into a single file, rather than having a separate font file for every width, weight, or style.

The typeface is based on real arctic sea ice data and gives us a visual representation of the loss of sea ice on Earth.

Typefaces tell stories. Sad, complex, pretentious…

Sa Soriano

‘For the Museo Morelense de Arte Contemporáneo Juan Soriano (MMAC), we designed a sans-serif typeface with a display character, inspired by features of the museum’s architecture. The specific reference is the windows and openings drawn on large-scale plans, gestures that were replicated in the typography through cuts and gaps, alluding to positive-negative, interior-exterior, window, landscape space.’ 

This is an example of form follows function.

The content can lead what the type looks like, or the type can follow the content of the project.

Incomplete without the T campaign, Grey London. With the aim of raising visibility of trans issues, Grey London came up with the idea of removing the letter “T” from a range of different texts to highlight the erasure of a letter from “any word, in any language”. This means reducing or removing both the comprehension and the unity behind it – “and the same is true when you remove the T from LGBTQ+,” states the magazine. 

Studio Dunbar

Erasing parts of the word ‘Alzheimer’, represents how the memory is erased in people with Alzheimer’s disease. It also simulates the frustration experienced by people with memory loss, by giving us the experience of reading the word with difficulty.

Pentagram- Maholy Nagy Foundation

This is an example of analogical techniques being used to create type.

Maholy Nagy was an artist from the Bauhaus. He worked with experimental photography and was one of the first people to experiment with photograms.

For this book cover design, Pentagram have used water to give the type a wavy effect.

Age of rage– The Guardian’s guide to anger. This is another example of design that uses analogical techniques.

Linguistic tricks

Linguistic tricks can make a phrase more memorable. They can be used when writing headlines.

Examples of Portmanteu:

Examples in English include chortle (from chuckle and snort), smog (from smoke and fog), brunch (from breakfast and lunch), mockumentary (from mock and documentary), and spork (from spoon and fork). A portmanteau is a suitcase that opens into halves.

(combining 2 words to create 1 new word)

A Palindrome is a word that reads the same backwards and forwards, for example:

Alliteration makes a phrase more memorable. It is often used in brands and advertising, for example:

Rhymes

Neologism are new phrases that have been recently made up because their use has become popular, for example:

‘Google it’

‘Tweet about it’

Acronym

Computer key – LOL

Denotation is the literal meaning for example, a cross.

Connotation is about our associations. In relation to a cross, it would be Christianity, hospitals. etc.

Project 2- Group work

Using the skills we learnt from this week’s lecture, we designed expressive type around an article about deforestation. We were placed into groups and needed to each design this heading. ‘We Need Trees’ works as a heading because it is snappy and uses rhyme.

I first read the article carefully, underlining key words. I then scribbled my ideas in my notebook, focusing on the key themes.

I sketched visual ideas for the heading:

I designed the heading in Illustrator. I typed the heading into a text box and changed the font to ‘Impact’ :

I used this photo of a tree canopy. (below) I bitmapped the photo by opening it in photoshop, converting it to greyscale and then selecting bitmap> diffusion dither.

I placed the group’s designs into InDesign and exported the document as a PDF. This would allow us to present it to the class easily in the next lecture.

Below designs by:

1)Ben 2) Ben 3) Ben 4) Holly 5) Demelza 6) Demelza 7) Demelza

Typographic design- Shipping forecast

Week 3

The Brief

Introduction
It is important to note that modern typographic design and modern
(‘concrete’) poetry evolved together in a synthetic relationship
that turned out to be a key development in design practice
during the Twentieth Century. Painters and writers, both looking
for new ways to transform their respective practices, would find
dynamic aspects in each others disciplines that would lead to new
innovative strategies that they could turn to.
During this period, writers became became aware of typography’s
authority over the shape of meaning; It can make light of
seriousness and visa versa by way of formal innovation; forcing
confrontation; reductive spacial designation and facilitating
contradiction. Indeed, there is no end to the ongoing cultural
innovation produced and provoked by a typographic designers
handling of type and language.

Task: The Shipping Forcast
The Shipping Forecast is a BBC Radio broadcast of weather
reports and forecasts for the seas around the coasts of the British
Isles. It is produced by the Met Office and broadcast by BBC
Radio 4 four times per day.

Using a combination of digital and/ or hand-crafted techniques,
typographically arrange the words to enhance their meaning.


I looked at some graphic design inspiration before working on my own design for the shipping forecast text.

Ian Miller

The California-based graphic designer’s posters and menus for boutique hotels draw on gig posters and book covers from the 1960s and 70s.

When you stumble across Ian Miller’s portfolio on Instagram, you’d be forgiven for thinking that you’d discovered a rather well-curated archive of vintage poster designs. In reality, the majority of these posters are commissions. Alongside a few personal projects, Ian regularly creates flyers, posters, menus and merchandise for a range of boutique hotels and their affiliated bars and restaurants.

erasing text randomly

Limited use of colour.

Bold and handwritten text, combined with a digital typeface. Diagonal type.

Analogical background texture. Lines of text placed at an angle.

image within a shape.

type grouped closely, overlapping.

I was assigned The Irish Sea. For Tuesday, this was the shipping forecast:

I pasted the data in a text box on adobe Illustrator. I then separated the text and grouped words according to what I thought sounded and looked the nicest. I repeated some phrases and increased some of the font size. This resulted in a scattered set of words I could then use in a composition:

Using grid paper as a guide, I sketched the letters for the words I wanted to stand out the most.

I scanned the page in several ways. 1) above, a simple scan 2) below, moving the paper up and down on the scanning bed. 3) sweeping the paper diagonally across the scanning bed. Techniques 2 and 3 created warped lettering.

I placed the page into Illustrator and cropped each letter out of the page separately. I worked gradually to build all the words to the phrases I had chosen to stand out.

When there were repeated letters, I simply copied and pasted the same drawing.

Using a combination of letters from the straight and wavy scans gives the composition a wavy look. This ties in with the theme of windy weather and a choppy sea.

I selected all the shapes, then switched the transparency to ‘multiply’ (see below). This allowed the lines of the graph paper to be seen through each layer.
I used differently types of Image Trace to turn the words into vectors. I used the eraser tool to remove lines from the word ‘Poor’.

I zoomed into the scan of the graph paper drawings. I then bitmapped this image in photoshop.

For the type, I used a combination of the graph paper drawings and the type tool on Illustrator. I changed the colour of the bitmap to purple, to allow the words in the foreground to stand out.

Wednesday 16th Feb

I wasn’t fully satisfied with the experiments from yesterday’s workshop. I thought there would be another way of working that’s more effective and less intricate/ time-consuming than drawing and cropping individual letters.

I re-thought the brief.

Accessing a different shipping forecast page, I mis-read that the Rockall 977 rock is in the Irish Sea. I therefore, chose this image of the rock for a background texture:

The second element I thought of, was using the outline of the Irish Sea within the design.

I cut this area out of the map by opening it in photoshop and using the quick selection tool. I then bitmapped the photo of the rock and placed it within the map outline by selecting both pictures on illustrator and creating a clipping mask. (below)

I added type to the image and created boxes around some of the type to make it readable.

I liked the grainy quality of this image as it nicely illustrates the issue of visibility and rain.

I then printed the image and chose to add handwritten type instead of digital type. (below). I used a red permanent marker pen to write across the page. I followed the curves of the rock photo. Writing some words bigger, helped to give some hierarchy.

I then opened the Rockall 977 photo in microsoft word and changed the colour to green, then another version in grey which I had flipped to a mirror image. I then printed the photos, tore the paper and stuck them onto a different piece of paper.

I wrote onto the page with 2 different pens/styles.

I chose to use the marker pen for the word ‘rough’, as the pen was starting to run out of ink and gave a rough texture. The fine liner handwriting adds a different texture again.

Opening the same photo in microsoft word, I copied and flipped the image upside down to give a mirror image. I printed this page to add handwritten words. The greyscale photo means that a coloured marker works well with the design.

I wrote the sentence at the top, to give the picture a kind-of-title.

I picked out the words ‘good’, ‘moderate’ and ‘poor’ from the text and wrote them on the right side. This gives the image some order and meaning to follow. I opened the scanned image in illustrator. I then transformed the image into an Image Trace vector. I used yellow for the background, as yellow is sometimes used for warning signs or instructional signs. The type at the bottom of the page balances the amount of white space in the design.

I transformed the image into an image trace vector image. This time I coloured the image orange. I drew rectangles around some phrases to pick them out of the composition. Using diagonal type adds energy to the picture.