Inspired by the militant history of typographic/printing unions, we are launching a proposal for the (re)constitution of the Montreal Typographic Union (Local 176 of the International Typographical Union) with the aim of bringing together in solidarity designers, printers and workers in affiliated trades (journalists, editors, independent publishers, illustrators, photographers) to:
Advocate for our collective rights and the betterment of our working conditions. Given the exponential precarisation and atomisation of our labour, we place a special emphasis on supporting freelancers, the self-employed, and the unemployed;
Collectivize material resources and skills, facilitating exchanges outside of commerce, to strengthen our collective production capacity. Commit to the mentoring of future generations through the craft tradition of apprenticeship, and skill-sharing amongst our peers;
Promote the aesthetic, cultural, and social value of materials produced through typographic craft while challenging industry competition/awards systems that reduce our work to stylistic commodities;
Uphold the militant legacy of typographical unions that won the 8-hour workday, using our skills and resources to support those who are oppressed and marginalised by the neoliberal system, and as a threat to those who impose it.
If you are interested in getting involved in the development of the MTU, please contact us.
Printer’s bug inspired by the Detroit Printing Co-op.
Check out this great podcast from Rank & File Radio featuring Darren Stebeleski of the Spark Poster Collective. Darren does a great job of articulating the role design can play in labour and social justice organizing, and gives us a lovely shout out along the way. He points to a lot of things that we have been thinking about and working on, and we encourage labour organizers/campaigners to get in touch with us if they’re curious. Thanks Darren!
I’m very excited to announce that I’ve been invited as a guest designer and critic for VCFA’s MFA in Graphic Design’s spring residency this April in Montepelier, Vermont. I’ve long admired many of VCFA’s inspiring guest designers, and am humbled to now be included on that list.
On Thursday, April 11th, I’ll be presenting Graphic Design as Symbolic Counterpower, a visual essay and discursive presentation that examines the social and political role of design. It argues against design’s supposed neutrality and objectivity to show how power is deeply embedded within design theory and practice, providing a framework for a lot of my thinking about contemporary graphic design. I look forward to presenting it and receiving feedback that will surely further my thinking. If you happen to be in Vermont, the lecture is open to the general public.
I will also be participating in critiques of student work, visiting the exhibitions, and attending various other activities during the week. More details on the residency and its public events can be found here.
In the wake of the terrible white supremacist attack in New Zealand/Aotearoa last week, we’re releasing a set of anti-racist poster designs for download, online sharing and printing.
Many of these designs were/are part of broader campaigns against fascist organizing, islamophobia, anti-migrant policy, anti-indigenous and anti-black racism, and we encourage people to continue to support these fights and to build a common front against white supremacy and racism in all its forms.
In Solidarity, Love and Rage.
– Download the posters here
LOKI is honoured to have designed the posters and visual identity for the upcoming Protests and Pedagogy conference/event series that marks the 50th anniversary of the infamous "computer riots" at Concordia University.
Drawing from amazing archival imagery we aimed to create a visual language that conveys the militant energy of the protests and occupation, acting as a contemporary intervention into the institutional space.
The conference kicks off on Jan. 29! Check out the inspiring line up of events on their website and we’ll have full documentation of our design work soon.
Please note that the studio will be closed between December 17, 2018 and January 7, 2019. We wish you a joyous and restful end of the year, and we look forward to working together again in the future.
All power to the people! And all the very best to you!
Happy end of the world… oops… year! And what a year it’s been! LOKI turned four in October, and we’re proud to have worked on many challenging projects addressing urgent issues facing our communities over the years. We’ll be closing up shop for the holidays next week and wanted to take the opportunity to give heartfelt thanks to all of our clients, collaborators, friends, and accomplices. Thank you for supporting our work.
In anticipation of the year to come, we’ve put together a quick cut of some of the projects LOKI has put out. We’re actively looking for new collaborators in 2019, so if what you see sparks interest, don’t hesitate to get in touch.
On December 4th, we’ll be helping to present an important research-action project on racial profiling by police in the Saint-Michel neighbourhood of Montréal. The event takes place at Concordia University and will feature presentations by Fo Niemi of the Centre for Research-Action on Race Relations, Alexandra Pierre of la Ligue des droits et libertés, and the youth researchers involved.
The research report was created in deep collaboration with youth in the community, highlighting their voices and often very difficult experiences. All props to them!!! The report and social media campaign feature illustrations by Maylee Keo and design strategy by LOKI.
LOKI is excited to announce that Kevin will be presenting at the Design Thinkers Conference in Toronto on Oct. 24 as a member of the Design for Social Good panel alongside Jay Wall from Rally Rally and Dawn Hancock of Firebelly Design.
The panel promises to offer a deeper dive into a subject that is too often covered through shallow surfaces (in LOKI’s humble opinion) with the goal of provoking more critical debate on the designer’s social and political role. From Design Thinkers:
How can designers thoughtfully and ethically engage with social, environmental and political issues through design? How do you set up a project for success? What are the emerging trends in this field of design, and what are some critiques?
Kevin will also be leading an “intimate” roundtable discussion on the same topic on the 25th (registration required). For a backgrounder, please see our Design Against Design research and our Graphic Design as Symbolic Counterpower visual essay.
We’re very much looking forward to these conversations with our colleagues and to meet other socially-engaged designers. Hope to see you there!
Last week, our long-standing client/collaborator Cinema Politica launched their Documentary Futurism project, an inspiring programme of 15 short films “documenting that which has yet to occur.” Inspired by Afro-futurism and Indigenous futurism, the films inaugurate a new genre that blends documentary cinema with the speculative arts.
LOKI is thrilled to be working with Cinema Politica on the programme’s visual identity and communications. Learn more at www.documentaryfuturism.ca
We were honoured to have our Make Racists Afraid Again poster included in L'Humanité's Tenir l'affiche initiative which featured a daily political poster to celebrate the 50 year anniversary of May 68. Many thanks to Thomas Lemahieu for reaching out to us and putting together such an inspiring project.
Last weekend LOKI took Design Against Design to Detroit for the 20th annual Allied Media Conference. We are thankful to have been able to speak to designers with similar practices based in social change/social justice. It was uplifting and inspiring to find ourselves in a design space where the conversations revolved so easily around the how-to's of doing the activism, the life, and the running of a studio — all with little resources and huge demands. We spoke with the aim of demystifying design practices and showcasing work that functions as/supports social-political resistance. We also critically questioned the current positioning and language of social innovation design, which we see as a gentrifying force towards our activist design practices.
LOKI is very excited to be presenting the opening session of the Design Justice track at this year's Allied Media Conference!
The strategy session we are proposing, Design Against Design, will pull together case studies of selected work alongside broader research and thinking on oppositional design practices. We will also present a critique of contemporary social innovation practices that co-opt the language of grassroots activism and design theory, often towards blatantly neoliberal ends.
It is our hope that the session will inspire the collective development of more genuine ways of speaking about and working through socially-engaged design practice, forge new networks, and build some much needed momentum against the growing conservatism of the discipline of design, and culture at large.
Looking forward to seeing everyone in Detroit!
This Thursday I'll be helping to launch Rebellious Mourning: The Collective Work of Grief in Montréal alongside editor Cindy Milstein at Librarie l'Euguélionne. The collection draws together reflections on the relationship between structural losses, mourning, and resistance. As Silvia Federici describes it "uncovers the destruction of life that capitalist development leaves in its trail. But it is also witness to the power of grief as a catalyst to collective resistance."
My contribution to the book, Fragments Towards a Whole, is a deeply personal one, addressing childhood sexual abuse and its refractions on my life as an activist. Told through fragments across time, it searches for connections and connection, and pushes towards the ideal of collective action as a salve for personal trauma.
Jen Wang’s essay does a brilliant job of challenging the neutrality/whiteness of modernist design aesthetics, as part of a broader analysis on the intersections of racism and design.
“You can’t be neutral on a moving train.”
— Howard Zinn
In 1991, Brenda Mitchell-Powell published an article in AIGA’s Journal titled, “Why is Design 93% White?” Since then, little has changed in the racial makeup of the design industry. While there are now more women in the profession, design remains overwhelmingly white, and decidedly not reflective of the racial demographics in the United States. The topic has been revived lately, but the discussion seems to revolve around issues of inclusion. But that inclusion is contingent on the aesthetic parameters of design itself being inclusive. What value does design, as it exists and is taught now, have to communities of color, and how does it represent them?
The lack of racial diversity in graphic design is tied to the pedagogy of design itself. At design schools, foundation courses teach a clearly Western European approach rooted in Modernism. Design history, as it is taught in those settings, renders racial whiteness invisible through an erasure of social context. By isolating creative movements and individual creators, design pedagogy supports the myth of individual exceptionalism, while the Western-centric approach implies racial essentialism. Combined with validating its design aesthetic through theory, this results in a visual language that can exclude and invalidate the perspectives of non-whites. How can a profession hope to attract people of color when the requirements are to assimilate, internalize, and perpetuate white hegemony?
Renewed support is needed for Lucy Granados, the Montreal community member and organizer for the rights of undocumented migrants who was violently arrested on March 20th and deported on April 13th, despite a very strong public mobilization.
Lucy’s application for permanent residence on humanitarian and compassionate grounds (H&C) is still under consideration and the Minister of Immigration has a legal obligation to respond, one way or the other. Lucy’s application is very compelling and under normal circumstances, if she were still in the country, it would have been accepted. We need to keep the pressure up and not allow the Trudeau government to reject this strong file because they want to evade accountability about CBSA abuse.
More info here.
A little over six years ago, we (Artivistic and our allies) organized, drafted and launched an open letter in support of the 2012 Québec Student Strike. The letter garnered over 500 signatures, drawing links between the threat to education and austerity measures against culture. The website we built for it is long gone, so we've decided to republish it here for posterity, and in the hopes of rekindling our collective imagination and aspirations.
In stark contrast to the hollow optimism, vague buzzwords, and entrepreneurial logic adorning the About pages of social impact and design thinking agencies, these sets of shared principles embody approaches to design practice that are genuinely committed to the communities they serve.
Image-shift: 13 points on (graphic) design
Sandy Kaltenborn of the Berlin-based studio Image-Shift drafts out 13 points sharing their perspective on (graphic) design, clearly and practically demonstrating how it works as a fundamentally social practice.
design requires positioning. you need to know where you stand, to know from where you are speaking. otherwise you are like a leaf in the wind, pushed by aesthetic trends and market requests. this is not something static — its is something which has to be re-questioned over and over again as the "being shapes our consciousness" — and we are not immune against the complex offers of capitalist (market) culture, which confronts us every day. in this sense we are (productively) dependent towards others who share our values. for us these people are our friends, the left (whatever this is...) and people we meet here and there. they are everywhere — though we don’t always share the same language we are happy to say "hello" once in a while.
we work with our clients. we don’t work for our clients (or for any kind of market requests), but on society, as a service to society. this also means we reject the working conditions created by the culture of service industries — where money structures the dependencies / the relations between us and our clients rather than the ideas we share with them. we are not friends with the cultural industries, as we believe that culture has other cause, than serving an industry.
we are interested in the social usage of images and the visual products we put into this world. we try to implement this understanding into our design work. we understand the distribution of the visual products as part of the (communication) design process. we try to see the recipient on the same level in shaping the discourses as us the designers and as our clients who bring the problems, the tasks, the work to our desks.
Design Against Design emerges out of a deep frustration with the current state of design discourse. And we’re pretty sure we’re not the only ones feeling this way. Francisco Laranjo’s article/rant, originally published in Modes of Criticism 3 – Design and Democracy, sets the tone for our criticism.
We republished the First Things First Manifesto numerous times with decreasing effect. We made post-it notes the symbol of design thinking, elevating it to a meaningless term used by businesses across sectors.
We made stretched typefaces cool, maximalism hot and anti-design mod again. We’re specialists in presenting variations of the past and selling them as novelty. So we fetishised vaporwave, repackaged it via MTV and turned it mainstream. We made trendlist happen and created an app to speed up the styling process. We spread Mr. Keedy’s Global Style… the beautiful miracle of replicating generic styles regardless of context to much applause across the design press. We insist on the existence of ‘neutral reporting’. Graphic design has been instrumental in the rise of capitalism and neoliberalism. The design press should be responsible for their selection criteria. They maintain the status quo. So this reminder comes as no surprise: all design magazines are political magazines.
We gave hundreds of pencils with different hierarchies, rubbed shoulders with every year’s ‘new blood’ and kept business as usual. We celebrate all things design with self-praise and nothing but good intentions: good design is (still and mainly) good business. And it’s this race for fame and awards, for young guns and the coolest designers under-30 that we happily feed. Entrenched competitiveness defines the culture of design, nurtured by supportive ❤❤ on every social media network. Design is now sold and marketed as a science of winning, with a variety of image filters, from ‘curated’ feeds of designers’ lifestyle, to schools that claim to give the necessary skills to be a graphic designer in 6 months, or world-renowned universities displaying their rank as badges of merit, year after year. Design education is now ranking warfare as business strategy.