- Forthcoming: expected Spring/Summer 2021. You can pre-order this title in our webshop. Once the book is published, we will dispatch your order.
- Economic beginnings/concepts explained in an accessible way for designers, without jargon
- With examples from the practice of innovativ design collectives that try to dismantle th relations between capitalism, market forces and design
- A source of inspiration for everyone in the design field: students, designers, educators (just like Ruben Pater's previous book, The Politics of Design (2016))
- Features examples of design practices that challenge capitalism
Ruben Pater (1977, NL) was educated as a graphic designer, worked in several design studios, also independently, and as an educator (e.g. MA Royal Academy of Art, The Hague). With Untold Stories Pater makes critical work on the edge of graphic design, journalism and activism. His first book The Politics of Design (BIS, 2016) is — just like this publication — an inspirational book full of sources for design students, educators and visual communicators all over the world. www.untold-stories.net; @unlisted_roots; @capitalslock
Capitalism could not exist without the coins, notes, documents, graphics, interfaces, branding and advertisements; artefacts that have been (partly) created by graphic designers. Even anti-consumerist strategies such as social design and speculative design are being appropriated within capitalist societies to serve economic growth. It seems that design is locked in a system of exploitation and profit, a cycle that fosters inequality and the depletion of natural resources.
CAPS LOCK uses clear language and striking visual examples to show how graphic design and capitalism are inextricably linked. The book contains many case studies of designed objects related to capitalist societies and cultures, and also examines how the education and professional practice of (graphic) designers supports the market economy and how design practice is caught within that very system.
The content of CAPS LOCK is structured in chapters with titles of professions that designers can occupy (such as Educator; Engineer, Hacker, Futurist, Activist, etc.). This choice responds to the much-heard adage that artists and designers in contemporary society must take on different roles in order to earn a living. Each chapter is divided into coherent articles in which diverse examples of objects and design practices are relayed. The book closes with six radical design initiatives, which each in their own way oppose capitalist thought, thus hoping to counterbalance suppressive mechanisms.