I was invited to speak on the topic of local publishing at Allscript x Comman Man Coffee Roaster’s “50 Titles” event last weekend. Yanda of Do Not Design selected for this event 50 examples of contemporary local books and magazines. Below is my response, a presentation on some of the titles and what we can learn about designers expanding their role in Singapore’s publishing scene.
I recently moved back to Singapore from New York. One of the things my girlfriend noticed was how difficult it was to pack my collection of architecture and design books into shipping boxes. Anyone who buys them knows how this genre of books come in all shapes and sizes, and seldom fit neatly into a box. In a sense, design books tend to emphasise a quality of difference, and I hope to explore this element in my presentation on contemporary architecture and design publishing from Singapore.
A few years ago, I fully immersed into the subject of Singapore design when I was commissioned to retrace the history of graphic design in this country. This resulted in my book, Independence: The history of graphic design in Singapore since the 1960s, which chronicles the evolution of the profession over the last five decades.
As a journalism graduate, one thread that attracted me while researching for this book was the rise of independent publishing in Singapore. From the mid to late 2000s, designers were putting out a trickle of local books and magazines, including Underscore, Brckt, The Design Society Journal, and kult. The periodical Singapore Architect had also just undergone a revamp under Kelley Cheng of The Press Room. Incidentally, this issue (#287) is her last as there is a new team coming on.
Designers who traditionally came at the end to give form to a publication are now creating the content, either by themselves or commissioning writers. It isn’t entire new nor unique to Singapore, but there is certainly a new generation of local designers who are putting together niche books and magazines all by themselves instead of trying to convince big name publishers to do them. With designers expanding their roles, what differences have they brought to publishing in Singapore?
Knockoffs, fakes, and counterfeits are the bane of modern industrial design. They are unauthorized copies of designers’ intellectual property. They are the stolen profits of manufacturers. They are the products of piracy: a phenomenon wrecking an industry’s will to innovate and create “original” and “authentic” design. But to consumers, piracy offers affordable goods, diversity of options, and sometimes, even better design. Piracy isn’t black-and-white like a pirate flag, but a nebulous concept whose edges ebb and flow like the waves of the sea. What’s a copy to some is homage to another, what is original today is tomorrow’s evolution, what is piracy to the industry is competition to society.
How will we recognize piracy and intellectual property in industrial design with the rise of digital fabrication technologies like 3D printing? By democratizing access to the means of production, it will become easier for users to copy, remix, and self-repair objects in ways that traditionally infringe upon a designer’s intellectual property. This calls for a need to redefine what piracy means. In response to the digital revolution, some designers and manufacturers have strengthened protection over their designs via the law and technology, while others are opening up access to them, believing that design is a collaborative process that benefits from a community working on it together. Will the rise of open design see an end to piracy?
This thesis examines more closely the relationships between piracy, intellectual property, and industrial design by studying a variety of case studies and interviews with practitioners. Beyond just a legal and economic issue, piracy is a reflection of society’s assumptions about the design process, who a designer is, and what design is for. Piracy is a ghost that will always haunt the world of design.
A Thesis Submitted to the School of Visual Arts in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in Design Criticism.
To find out more, visit the Design Piracy Institute.
What do Charles Dickens, the Golden Mean, and nuns have to do with graphic design? They’re examples of how it influences pretty much everything around us—and they’re also the subjects of an ongoing eponymous series of books from London publishing house GraphicDesign& that brings a diverse group of designers together with an equally diverse group of experts (philosophers, social scientists, mathematicians, Dickensian scholars, theologians, etc.) to show how graphic design relates to the world at large.
We spoke with co-founders Lucienne Roberts, a designer, and Rebecca Wright, a design educator, about their plans to expand the public’s perception of graphic design, their recent survey that aims to figure out who graphic designers really are, and their latest publication—about nuns.
➜ Read the rest at AIGA’s Eye on Design