Graphic design: labours, practices, aesthetics, politics
Group Online Tuition (12 Students)
START DATE: Tuesday 14th June
Evening Class is a collective experimenting with self-organised education and design practice, which has been active since January 2016. Evening Class has attempted to cultivate common interests, develop research and collectively decide the collective programme, which has taken the form of public workshops, talks and debates, reading groups, radio broadcasting, performances, walks, and publishing. Through these activities, we have worked on developing a curriculum of both theory and practice, often working in collaboration with other like-minded organisations and individuals.
Evening Class is formed by individuals with different levels of expertise, skills, and experiences within design. As such, we have designed a course of separate sessions, each of which has been planned by one or two of us, that speaks to our interests and desires.
Overall, the course aims to touch on themes such as the politics and aesthetics of design practice and creative labour, as well as discussing the broader implication of designed objects, with cultural, social and political codes being often enforced through very specific visual devices and canons.
This course aims to think through what implications visual communication carries with it, understanding how particular visual languages are instrumentalised can allow us to understand their limitations and possibilities, to develop both knowledge and criticality, as well as acquiring the means to act on them in new ways.
What we will do:
1. Introduce some of the implications that visual communication carries with it, by unpacking some common visual codes, design tools and canons. This will be done with a deeper look at some aspects of graphic design’s history, its origins in the first human-made symbols, to its current incarnation as a vessel for commercial (or otherwise) storytelling.
2. Read texts of various persuasions which help understand how designers see themselves and others in relation to the world around them
3. Examine models for teaching and learning graphic design, and what kind of “results” they are expected to produce
4. Introduce ideas surrounding how labour is organised, or not, around graphic design practice
5. Map participants’ existing shared resources and knowledge to better imagine networks for self-reliance
What the course is not:
> An overview of design history > A course on learning design softwares > A foundational narrative journey
Some of the sessions will combine slides based presentations with more practical workshop experimentations; others will be mostly conversational, experimenting with facilitation exercises and attempting to create a forum for discussion and peer-to-peer exchange. During the ten week course, participants and facilitators will work towards the creation of an assembled publication (TLCembling): a printed object that will collate a spread created from each participant. Part outcome and part self-standing piece, the assembled publication (TLCembling) will be an opportunity for participants to, amongst other things, reflect on their practice, their interests, the course and the exchanges that happened during the sessions.