The project took inspiration from the Wikileaks Silk Scarf created by Metahaven as a starting point, while also making a creative leap to explore the wider context of methods for ‘Critical Graphic Design’ to develop as a line of inquiry.
As a group, we decided to begin with experiments that would explore different ways in which graphic design practice could communicate critique; circulated through zines, posters and social platforms.
We explored popular aesthetics with print and digital design as a starting point for our iterative experiments and translations, while including elements from the original scarf.
When ‘translating’ the scarf into a digital medium, it was important to think of the ‘value’ of the digital asset created. As the proceeds from selling these scarves went towards funding WikiLeaks, the ‘value’ produced was essential to preserve.
This lead us to explore the concept of NFT’s, that ascribe value to digital assets, while incorporating the 3D and Pixel art aesthetics that are popular NFT trends.
In doing so, and through the lens of questioning critical design, it is important to note that both the Fashion industry and NFT / Crypto space are known for ethical concerns regarding sustainability and exploitation. This also lead us to ask the questions, are these uses of design for critique effective? Do they fulfil a purpose? Is the monetary value created by a piece of design the only way for it to fulfil a purpose? What does it mean to be critical as a designer?
This wider context and discussion was something we wanted to prompt through this project. How might we prompt a discussion about these questions?
We also explored print as a method of circulating critique & information through a zine and poster:
Based on the feedback from our tutorial, we decided to focus on the digital methods of translation. And to further explore the role of social platforms and their various tools to communicate critique. We were also further interested in exploring design as a tool for critical expression, the different kinds of ‘value’ that can be created by graphic design practice (in and out of commerce) and the relationship this has to identity, activism, resource, skill, labour and environment in a post-growth context.