Innovation Showcases
Inspiration vs. Appropriation: The Use of Traditional Motifs and Techniques within Modern Design
Innovation Showcase Renee Lamb
Humans have long borrowed motifs and techniques from other cultures and regions, incorporating them into their own stories and cultural monuments. In regions that became centers of trade and contained a confluence of cultures, such as Venice, Alexandria, or New York City, this mixing of cultures has become a local cultural marker in and of itself. While in the past, this sharing of traditions, techniques, motifs, and beliefs took time, today, we can access images and stories of other cultures at the tap of a button, allowing us to draw inspiration from places we’ve never been and people we’ve never met. As designers, we are constantly on the lookout for inspiration. Yet, when we draw this inspiration from cultures and people that are foreign to us, we risk appropriating and demeaning sacred cultural traditions or marginalized peoples. With an increasing number of marginalized populations gaining a voice and speaking up when they perceive their cultural traditions as being appropriated, designers are being asked to question where the line sits between “inspiration” and “appropriation”. This session will consider the difference between inspiration and appropriation, while examining current case studies and conversations around the topic. It will allow participants to question their own beliefs, asking: In an increasingly globalized world, is it possible or even desired for cultures to develop in isolation? And, how can we develop as global designers, while also being aware of the risks of appropriation?
Investigating the Potential of No-Cost Graphic Design Summer Camps to Inspire Underrepresented High School Students to Pursue Graphic Design in Higher Education and Foster Diversity Within the Industry
Innovation Showcase Nancy Miller, Alexandria Canchola
The graphic design industry faces a critical shortage of talent from diverse racial and ethnic backgrounds. To address this, we developed a two-week, no-cost graphic design residency specifically for high school students from historically underrepresented groups, including Black, Latin American, and Indigenous students. This initiative aimed to eliminate obstacles hindering these students’ immersion in graphic design. Over three summers, 36 students participated in a curriculum focused on conceptual, professional, and technical skills through a hands-on, project-based curriculum. Campers interacted with industry professionals and visited local creative organizations such as advertising agencies, marketing departments, museums, and community art centers. This study evaluates the camp’s effectiveness in inspiring students to pursue graphic design and its potential to foster a more inclusive design community. We analyze the goals of the inclusive camp, its structure, and its impact through feedback and testimonials from campers during and after the camp to assess whether free programs like ours can promote diversity in the student and professional composition of the broad field of graphic design.
