Indigenous Project, Nina & Alex


For this project, we decided to tackle the general lack of knowledge of the mistreatment of indigenous people in history as well as modern day. We wanted to make a clear timeline that would outline some major events that happened since the beginning of colonization and pan over to current events. We picked 6 events in total, ones that we agreed not only made a significant negative impact on native communities but were also either forgotten about by the general population or disregarded as irrelevant.

Since younger people hold the power to change the future politics of our country, we wanted to appeal mostly to them. Therefore, we picked sans-serif fonts and bright colours. It was important that this campaign looked clean, modern, and sleek, but most importantly we wanted to give it an approachable look to capture people’s attention. Although this campaign deals with heavy subject matter and aims to inform people of very dark issues, we didn’t want it to look too grim for the fear of being off-putting. We didn’t want to scare viewers off, forcing them to shut down and ignore it before reading the information.

This campaign revolves around Vancouver’s transit system, the concept being that the viewer travels through the timeline as they would through the transit lines. Buses would be wrapped by the full timeline, with the corresponding hashtag on the back. Vertical bus shelter ads will be featuring single events from the timeline with a bit more in-depth information. We also designed a website where people can go to learn more about the true history of Canada as well as find useful resources to take steps towards positive change.

I believe that we deserve a 9/10. This was a very fraught subject with significant gravitas. In the ‘real world’ we would most likely work closely with first nations groups to achieve the desired impact as well as hire a web designer for the web pages to make a beautiful interactive website. Having to do all elements ourselves, on top of the intensive research, I think we’ve accomplished our goal and are satisfied with the final version. Additionally,





Research Links:







It was hard writing a hypothetical resume as I am not yet ready to apply for work or even internships. I definitely enjoyed playing around with different templates and layouts but the content part of it is mostly just a placeholder for the time being. Since I am not planning on staying in Vancouver most of the upcoming summer I’m going to have to pass up the interning opportunities for now. Additionally, my ultimate goal is to freelance as an illustrator while I further develop the art collective and company I started last summer. This is a good exercise and I enjoyed looking at the plethora of options for a creative resumer, however, I’m going to leave this where it is for now and come back to it when I have more experience or a desire to apply for a job.

I’m going to give myself an 8/10 because I did what the brief asked for and the end result looks appealing. I know that certain parts will need to be reworked in the future but I’m glad I got the bulk of it done today.

actual resume


funky resume





The hardest part about this assignment was zeroing in on a cohesive theme to focus on in my manifesto. The design world is so fraught with problematic components that come up in nearly every aspect of the industry, which can serve as inspiration to write a manifesto but is an intimidating task nonetheless. I decided to focus my efforts on the idea of banding designers together to revolt against irresponsible companies. I know that this concept is quite ambitious as it follows an idyllic scenario, but I came to the conclusion that for this project I would stick to an ideal and write about it from a soap box as if the whole community of designers is paying attention. I paired it with an illustration reminiscent of Alice falling down a rabbit hole because that’s exactly what searching for conscious design can sometimes feel like. The figure is surrounded by indistinguishable packaging, representing all the available options that consumers have to research and evaluate while on a quest to find a reasonable company. I went with a warm colour palette because we are ‘in the red’ zone of urgency when it comes to sustainability.


I give myself a 9/10 because I’m very pleased with the aesthetic of this poster, I think it’s eye catching, attractive, and approachable enough to get the attention of the viewers. Additionally, it is conceptual and visually interesting. The manifesto is neat and easy to read. I would have possible played with more concepts if I had the time but I’m pleased with the way it turned out.

Douglas Coupland, One Cool Canadian



Dounglas Coupland is a man of many talents. Not only is he an internationally recognized visual artist, a regular columnist for several publications, a sought after designer, and the author of THIRTEEN novels, he possesses an uncanny knack for observing the cultural zeitgeist and reflecting it back in the most whimsical way possible.

To honour his creative contributions he has been made an Officer of the Order of Canada and of the Order of British Columbia.

Coupland’s work is often categorized as satirical due to its tendency to criticize our culture of consumerism. He is known to apply different materials in his works ranging from the traditional and two-dimensional to the sculptural ensembles famously employing found objects.

Living in Vancouver we are lucky to be able to easily stumble upon some of Coupland’s curiosities such as the Infinite Tower public art piece in South Vancouver and the pixelated Orca in Coal Harbo



Postmodernism – Martine Bedin and Her Funky Lamps

Whether it’s applied to literature, art, or design people always struggle to define Postmodernism. Unlike other genres and movements ‘POMO’ doesn’t fit in a neat box, in fact, it’s fair to say that Postmodernism is primarily about breaking out of such boxes. It is new, it is fun, and it is most definitely experimental, which is exactly how I’d describe Martine Bedin’s work.

Bedin was born in Bordeaux, France, in 1957. She moved to Italy to study architecture, which lead to a successful career. In the early 80s she met the Memphis Group co-founder Ettore Sottsass and begun working with him in his studio. Not long after than she joined the Memphis Group, with whom she explored different materials such as ceramics, fiberglass, marble, wood, and metal. The group showcased their work in renowned museums and continued to shock and inspire people with their unconventional, outlandish designs.

One particular object Bedin created while with the Memphis Group is the Super Lamp. It is a an arc shaped lamp with light bulbs along its spine that can be dragged around on a leash like a dog. The object is as playful as it is unusual and considered by many as the epitome of Postmodernism. When the lamp first came into the world of design it got very mixed reviews, some not so flattering. Today, however, it is still admired by many design enthusiasts. You can buy one from Artsy,net for $1450.00!

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Later in her career Bedin Opened her own studio in Milan where she taught aspiring designers how to push the boundaries of creativity. She also traveled the world to lecture and share her unique perspective. She also published several insightful books.

Bedin’s funky illustration style





Supergraphics: Barbara Stauffacher Solomon

Barbara Stauffacher Solomon is a remarkable American designer and landscape artist. She was born in 1928 in San Francisco where she trained professionally as a dancer. Eventually, however, she gave up her dancing career to study paining and sculpture at the San Francisco Art Institute. On top of that she attended the art institute in Basel and the University of California, Berkley.

Perhaps it was this culturally mixed education which helped develop Barbara’s unique style that is known for its Swiss modernist influence mixed with West Coast vibes. So enamoured she was with the rigidity of Swiss design that even when she was working in the States during the most psychedelic decades, her work was thoroughly imbued with European sophistication while still capturing the California nonchalance.

A specific thing Barbara is known for is ‘Supergraphics’. She helped define the major trend and paved the road for many other experimental, larger-than-life designs. Perhaps the most well known installation of her career is the Supergraphic she did for Sea Ranch in 1960:


Despite the thrilling career and a fierce talent, Barbara came to be disillusioned with design and the politics surrounding it. She often spoke of the blatant sexism in the field, complaining about the unfair expectations placed on women.

” In part, women today are facing a storm of conflicting expectations. Women feel that they have to achieve in the workplace, they have to look fabulous, preferably thin as a model, and probably go under the knife for their first nip and tuck before they’re 30. Oh, and besides this they’re supposed to be perfect mothers and wives. They’re obliged to pull all this off simul­taneously. What craziness is that?

So I think that many women, who recognize after 10 years or more that their wonderful jobs are not so fulfilling, are opting out. They are marrying later, having babies later, and divorcing earlier. If they’re lucky they’ll find that their biological clock hasn’t run out on them like their man has who is probably on to his next trophy wife. Many are not so lucky. Often they feel stranded and deceived by a system with diminished opportunities.”

This is an example of her very acerbic perspective. Sadly, it seems as though her astonishing accomplishments  came with a bitter price. She’s been known to say that ‘to design is to do the work of devil,  when speaking about her realization that work is often used to camouflage an uglier truth.

Despite all this, Barbara had a remarkable career, her work is universally recognized as an iconic token of the time and is still exhibited and talked about all over the world. In 2013 she published a design book titled ‘Why? Why Not?’, which is a compilation of her life’s work as well as several interviews and insights. Barbara’s career was hugely prolific for many decades, and even now, in her late 80s, she is active in her field.



Psychedelic Hero: Wes Wilson

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Psychedelic art is hard to do right. One bad move and the whole thing easily turns from cool to kitsch. It takes a true master to successfully manage all those loud colours and shapes. Wes Wilson is one of those masters. Wilson was born in 1937, in Sacramento and unlike most artist we learn about, he didn’t doodle on walls at the age of 5 or create his first masterpiece by 12, instead of displaying early artistic interests Wilson was more into the outdoors. He cared about nature and horticulture which is what he studied at a local college until he dropped out in 1963. Soon after Wilson started creating his first posters. The themes for these came from Wilson’s strong anti-war beliefs. The very first poster was self published and compared the USA to a Nazi Germany because of their increasing involvement in the Vietnam war. Lucky for Wes he was already living in the Bay area, which in 1965 was about to become the great Mecca for hippies and subculture; a gathering spot for thousands of doped up, rebellious youngsters eager to dole out free love and protest the man to the groovy beat of rock ‘n roll. This is where Wes met Bob Carr. Carr was a few steps ahead of the novice Wes, he had many connections in the happening beat and jazz scene and had set up a contact printing company in his basement. Carr took Wilson on as his assistant and partner. Wilson began doing basic designs and layouts for benefits, parties, and dances. Soon he was the go-to guy for most event posters.

Wes often credits Alphonse Mucha, Van Gogh, Egon Schiele, and other expressionist as his biggest inspirations. He claims to have been influenced by a Viennese Secessionist Alfred Roller who designed an alphabet that Wilson was eager to learn and alter to make it his own. This is how he ended up creating the iconic 60s lettering we now so closely associate with LCD and Janis Joplin.

Wes’s poster style was very different from the clean and often monotone colours that were popular a decade earlier. Every spot of the page was filled up and the colour palettes became more vivid than they’ve ever been. Poster artists everywhere took cue and followed Wilson’s lead. Soon his style was the signature style of the 60s, inseparable from the aesthetic of the decade.

Another dissimilarity between Wilson and so many other creative geniuses is that he did not cut off an appendage at a moment of despair or drink himself to death due to haunting visions. Wes got married and had 6 children, he’s alive and well, still painting and occasionally working of special request posters on his farm in Missouri.

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