Tag: Graphic Design

The Meme: Democratizing Graphic Design and Politics

Any significant political event today is often quickly marked by the release of a meme into cyberspace. These simple graphical messages seize on an event’s most controversial moments, translating it into a digital file of less than a hundred kilobytes. In a matter of seconds after its creation, a meme is shared and read, and if effective, its message spreads like wildfire through the Internet and is received by a global audience.

Such memes, often created with just a clever juxtaposition of a tagline on an image, is an act of graphic design as its most basic—combining graphics and text to create meaning. Just as how graphic designers often tap on popular culture to create an attractive visual language for communication, these memes also appropriate images from popular films and iconography to grab attention for its messages.

One could trace political memes to political cartoons, as both take on the subject by injecting humor to create a graphical product whose goal is to make its readers laugh, and often implicitly criticize. While political cartoons have had a long history and is considered a discipline in its own right today, memes looks much more raw in comparison and are often plain ugly. Yet, it is their Do-It-Yourself aesthetic, cobbling together seemingly disparate graphic elements, that gives it legitimacy as a message that originated from the grassroots. Political memes are not the works of a professional cartoonist nor is it a slick advertisement from a politician or group with an agenda—they are the voices of the masses for the masses, an online version of the political poster.

Unlike professional graphic designers, meme creators only need to know where to Google and appropriate the image that is best suited for the message in their heads. Sometimes, it is the reverse, becoming a game of who wrote the funniest caption. The rise of memes has been aided by the emergence of simple web tools that allows anyone to quickly ‘generate’ one and share it, using a series of templates that codify how a meme works. One signature form that is characteristic of the genre starts with a lead-in text, followed by a ridiculous but somewhat relevant image, and ends with a punchline for impact. This three-step design process shows how readers often encounter memes, while scrolling in the web browser environment.

Although there are more complicated memes that allow a longer narrative to be played out, such as those based on the design of comic panels, they are mostly short and to the point. The choice of publishing memes via social media also explains its design. Clearly catered for viral transmissions that ride on platforms filled with competing messages, the design of political memes prize speed and compactness over cutting-edge aesthetics and depth.

Political memes are essentially a fragment—and at times, not even the most important—of how the masses see politics today. This is perhaps a sign of how everything in our lives today take on a certain ‘entertainment’ turn—even something as serious as politics. With so many other things in life to do, politics has to be reduced to punchlines and attention-grabbing antics in real-life and also in the form of memes.

This political form that is born from the convergence of technology, design, and society has become so popular that there are now websites dedicated to the generation, collection and distribution of such memes. Even politicians have got into the game, when during the 2012 US Presidential campaign, both candidates’ social media teams unleashed their own memes into their World Wide Web.

This new form of political expression of the times is another medium of society’s democratic conversation, adding richness to the online chatter amongst the masses, and definitely a good laugh too. But is there anything more after that? On the one hand, it can serve a vigilante function, cutting through heavy political acts by seizing on dubious messages and magnifying them through humor, but on the other, political memes often takes things out of context, mostly for the sake of entertainment.

Just as how computers made visual expression simpler for more, the simplicity and ease of creating and distributing memes is another example of how graphic design is being democratized, in this case for online communication on political matters. And like most media, memes are value-free, but entirely up to where designers — in this case, citizens — want to take them.

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This was originally written for a graduate programme application. 

A Pioneer of Singapore Graphic Design

Two years back, I wrote about Mr William Lee (李秀镌), a graphic designer who has created corporate identities and logos for many Singapore companies and organisations. Since then, I’ve chanced upon more material that gives a fuller picture of his contributions to Singapore’s design scene.

Before William set up Central Design, an independent advertising and design agency in Singapore,  in 1969, he is said to have attended a Chinese-language school here before heading to Australia to be an architect. However, he dropped out of it to study graphic design, spending 12 years learning the profession via work-cum-study in Australia, Amsterdam and London. He began by obtaining a Certificate of Art in Australia before heading to Holland where he got a Diploma of Advertising and Typographical Design. William then left for London to study in St Martin’s College of Art, eventually receiving a National Diploma in Design. For the next seven years, he worked in a leading advertising agency in London as an art director before finally returning to Singapore to set up shop.

He seems to have started out by designing stamps for Singapore. Soon after setting up Central Design, he was invited to submit stamp designs for a commemorative issue on ‘Shipping Development’. This series of three stamps issued in 1970 were his first of many designs.

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Singapore Shipping (1970) from CS Philatelic Agency

In an interview with the magazine Stamp Monthly, he said his motivation to design stamp  came from a meeting with a philatelist in London who commented that Singapore stamps lacked colour and attractive designs. The shipping stamps he did led to his first big break: a commission to design an issue of stamps for the Commonwealth Heads of Government Meeting held in Singapore in 1971. This was perhaps one of the most significant events held in the young Republic, which had barely turned six years old. Such high-profile work brought him much attention both internationally and locally, and it became an accolade that would be brought up again and again in his career. In an interview, he said, “This series gave me personal satisfaction as it brought Singapore stamp designs to international standards.”


1971 Commonwealth Heads of Government Meeting from CS Philatelic Agency
Satellite Earth Station – Sentosa Satellite Dish (1971) from CS Philatelic Agency

But from a creative standpoint, another stamp design he did that year was much more worthy of attention. For the opening of Singapore’s first Earth Satellite Station, he used a full illustration of it over four stamps of different values—something never done before in stamps issued in Singapore.

With the memory of the Commonwealth stamps barely faded, the soon to be launched Singapore Airlines (SIA) came knocking on his doors in July 1972 with a job to flesh out their corporate identity designed by Walter Landor of San Francisco. William became the first local designer to handle creative work for the national carrier, SIA, and in over two months, his  agency of 30 workers churned out over 600 items including brochures, tickets, baggage tags, office signs, passes, letterheads, etc.

Having worked on arguably the two biggest design jobs available in the ’70s within just three years of setting up, William became known as the Singapore graphic designer. He was regularly in the news on design-related matters, and even his sojourns to to Europe to study “the latest advertising techniques” were reported in the press. His clients over the years have reported to be multi-national companies from England, Japan and America. These include Akai Sound Systems, a Japanese electronics firm, as well as Mark Holdings, a wholly Japanese-owned trading company that brought in Swiss watches including Longines, Eterna, Ulysee Nardin and Rotary.  In 1974, Longines of Switzerland even presented him a special award for outstanding creative work on their account!

As the Singapore economy boomed though the ’70s, William built up a body of logos for a variety of local and international businesses as well as government organisations. These include the Post Office Savings Bank (1972),  Shangri-La (1975), Singapore Bus Service (1978) and United Overseas Land (UOL) (1979).

SBS

POSB, Shangri-La, SBS and UOL logos from Singapore Visual Archive

As his business grew, William did less and less stamp designs, eventually stopping completely around 1980 after designing 16 series of commemorative stamps. However,  he made a comeback for the 25th anniversary of the NTUC in 1986 because he loved the challenge of designing stamps.

25th Anniversary of NTUC from CS Philatelic Agency

To honour his design services for the state and community, William was decorated with the Public Service Star by the late President Sheares in 1975, and the Friend of Labour medal by the National Trades Union Congress (NTUC) in 1982.

Given the period of his design education in the ’50s and ’60s, it seems William was a designer trained in the modernist way of thinking. When asked what defined a good logo, he said it had to be simple, yet striking as it is international. He was also known to advocate the use of white space. In the early 1970s, he observed that local designers often copied designs they saw in magazines and newspapers, and his advice to them was, “They must learn to be original.”

Not much is heard of William or Central Design after the mid-1980s, which by then would have been close to two decades old. Perhaps his agency was affected by the 1985 recession?

William is believed to be alive and well today, but has not made himself contactable. He once said, “I like to be alone but I’m never lonely. I have so many other interests like fishing, music and antiques, to keep me busy.”