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How Sustainability Can Change The Design World - Shante Singh

1.     Introduction

Sustainability is a big issue globally, and there are always ways we can create a sustainable future. This essay will argue for sustainability in green printing and show a comparison between regular paper and ink we use versus recycled paper and eco-friendly ink. There will be examples of each type of printing method, and an analysis will be given of how green printing is proved to be the better option than standard printing methods for design. Issues such as how printing and green printing effects or improves the environment and people’s health will be discussed. The essay will give a better understanding of the world of green printing for designers and printing companies and show that there are sustainable printing methods that produce the same results and will help future generations. This will be achieved by showing appropriate evidence and examples of both methods and discussing the research and experiments done on green printing and regular printing.

   2.     Defining sustainability and green printing

Sustainability occurs when trying to meet the present's needs while also trying not to harm future generations and their needs, utility and welfare. The idea of sustainability began as a way to combat the threats posed on our resources, eco-system and the well-being of future generations (Meadowcrof, 2015). The three different kinds are social sustainability, financial sustainability and environmental sustainability. When discussing sustainability, there is sustainable development, which means those future generations, society, and the environment should be taken into consideration when making decisions. The primary type we will be focussing on is environmental sustainability which deals with humanity co-existing (Meadowcrof, 2015). Sustainability has become a main priority in the past few decades due to the environment suffering at its people's hands; we even notice governments bringing to light new laws for the stance of people using safer alternative methods. This is done in hopes that we can create a sustainable future for ourselves and the generations to come (Dharavath & Hahn, 2009).

As part of sustainability, the topic of printing will be discussed and analysed. The number of printing documents increases every year. We need to start thinking about the future and try our best efforts to preserve the natural resources and reduce the toxic impact of producing printing chemicals, ink and paper (Munger, 2008). We first think about how large amounts of paper waste can harm the environment. However, we also need to talk about how the ink used on the printed materials pollute our environment and affect the design world (Munger, 2008). Over the years, there has been a change with printing manufacturers and how they have tried to lean more towards more sustainable papers and inks. The push for this was by society and people trying to increase awareness for the ecological footprint and push printing companies and designers to use more sustainable printing methods and consider these things when choosing a printing company (Dharavath & Hahn, 2009).

Green printing is a movement in the printing industry that promotes the use of natural resources to help develop sustainable printing and print advertising solutions for the present and future (David, 2009). The movement includes reducing the use of chemical-based paper and inks, choosing low-volatile organic compound inks and using recycled and tree farm paper to evoke change in the design world and take steps to make a change (Dharavath &Hahn, 2009). Today we have inks and paper that are environmentally friendly and are made from various substances. The inks are made from vegetable-based and soy-based ink, and the paper is made from recycled paper or FSC paper, which means the paper is all chlorine-free (McCadney, 1999). Recycled paper is more accessible to the public and a lot more affordable than it has ever been. Over the years, there have been innovative ways in which paper has been made sustainable. There are alternatives such as straw paper, bamboo paper, wheat paper and more alternatives made from vegetable products (Coppola & Modelli, 2020).

3.     The causes of printing practices in the design industry

Ink is composed of 3 main components: chemical binders, pigments and a liquid vehicle. The pigment is made from inorganic and organic components that help create different colours and, the chemical binders help the pigment mix together. The liquid vehicle, which can be chemical-based, water-based or petroleum-based, helps the pigment absorb. It then evaporates as the ink dries. The petroleum-based liquid (which is the most commonly used) emits the highest amount of environmental damage and what makes this liquid more dangerous is a non-renewable resource (Munger, 2008). These elements are considered harmful in the printing industry: ink contaminated solvents, photochemical and oils from printing machines. The oils release toxic petrochemicals and volatile organic compounds, which threatens the employees' health working with these substances, the environment and the general public (Munger, 2008).

When we talk about printing, we first think about paper and how the forests, more specifically the old-growth forests and trees, are depleting rapidly due to the amount of paper needed just for the printing and design industry. According to Roger Munger (2008), it takes around 786 million trees to meet the world's paper and printing demands each year. The manufacturing of paper harms the environment. This results in excessive amounts of natural resources being used, such as trees, water and non-renewable fossil fuels, vast amounts of waste, and air pollution, affecting the atmosphere and contributing to global warming (Moneron, 2020).

Many printing companies use harmful inks, and designers choose printing companies that do not practise sustainable printing methods. This leaves a large ecological footprint on the planet. An ecological footprint is the measurement of the amount of pressure the human race puts on the Earth and how much nature humans use to sustain themselves. An analysis is done on humanities consumption of waste generation using natural resources (Wilson, 2001).

Figure 1 shows a landfill with different kinds of printed material that have been thrown out. This shows a small fraction of the number of prints regarded as waste and sit in large areas because the recycling process is too costly or the number of resources needed to recycle the prints is too great. The printing companies, designers, and clients do not consider the after-effects once their printed media has been discarded. The majority of this will end up staying in waste areas or being burnt, contributing to air pollution and harmful effects on the environment and people's health.

                                       Figure 1 Wasted printed material

Figure 2 is an example of a cartilage of petroleum-based ink. This is what the majority of printing companies use and owners of printing machines. This type of ink is used because it is cheap, easy and the most accessible to find. That does not mean it is the best form of ink to use as it poses many threats to our environment. This type of ink is a non-renewable resource, and the process of getting this resource damages the environment as a lot of drilling and digging has to be done. Petroleum is a toxic flammable liquid that emits volatile organic compounds, which cause air pollution and poor air quality for people exposed to it (Dharavath & Hahn, 2009).

                                     Figure 2 Petroleum-based ink

4.     The significance of green printing in identifying and solving printing in the design industry

The printing industry has been under fire by the government and environmentally aware consumers over the past few years to develop better sustainable methods to use for paper and inks. This call to action was met with tons of research, experimentation and new methods to combat the issues being faced with printing. Following the discoveries, various green organisations began to develop vegetable-based materials as an alternative to petroleum-derived chemicals used in ink and vegetable-based materials used to create an alternative paper for printing (Munger, 2008). We, as consumers, can source out places that use environmentally responsible inks and printing practises to help combat the use of hazardous chemicals and waste. Doing this will not only reduce the ecological footprint and pave a way forward for green printing, but it will pressure the competitors to change to a more sustainable alternative to printing and help them and designers adapt to more green printing practices (Munger, 2008).

The first part of green printing is using more sustainable paper methods. There are many alternatives to making paper now, such as hemp, organic cotton, sugar cane, wheat straw and kenaf. Not many people are aware of the fibre called 'kenaf'; it is a high-yield resource that is fast growing and produces excellent paper characteristics. This material is a perfect solution as a non-wood alternative. Hemp is also an excellent alternative for cellulose papermaking as it is one of the cheapest resources with very high quality. These types of materials can be recycled and do not harm the environment. (Munger, 2008). Another solution mentioned in green printing is companies and designers trying to use more electronic-based documents instead of printing. Try to consider making the documents more user-friendly to encourage using an electronic format instead of paper and ink to print the same documents. For printing needs, try to source out companies that use eco-friendly paper when printing (Munger, 2008).

The main point highlighted in the term green printing is using sustainable ink and finding alternatives to petroleum-based inks, chemical-based inks, and water-based inks. Many alternatives were created, such as soybean oil-based ink, canola-based ink, castor oil-based ink, and sunflower oil-based ink. Soy ink printing is prevalent and has become very successful in the world of green printing. It is the most common vegetable-based ink used as an alternative in many eco-friendly printing places. The soy ink also has less chemical processing methods when removing the ink from paper (Munger, 2008). This means that the paper goes through minimal amounts of damage, increasing the chance of higher quality recycled paper compared to removing regular ink from paper, which causes a lot more damage on the paper and makes it hard for it to be recycled. This type of ink is a renewable resource and can easily be produced. The ink is made from the oil in soybeans, extracted and mixed with other organic compounds. This ink is not as oily as petroleum-based ink, and it is perfect to use for mass-produced prints such as newspapers and media prints (Assmann, 1992). The oil-based inks are a more environmentally responsible choice for printing. These inks also produce more vibrant and brighter colours because natural resources are used when making the inks (Munger, 2008).

In figure 3 we see a book and brochure that is made from recycled paper. By viewing the image below, we can already see how beautiful and clean it looks. The quality of the paper is very high. The image quality is kept the same, and the integrity of the paper is not compromised. This type of paper meets the design industry's needs and is an excellent example of sustainable green printing.

                                             Figure 3 Recycled paper

 There are examples of vegetable-based inks that can be used for printing various types of materials (see figure 4). These inks are made from different oils as well as from vegetables such as beetroot and flowers. This type of ink is a better way to go and not only because it is the more sustainable approach for the design industry but because the results are, if not better than the typical inks used. These inks are a renewable source as well, which is good for the environment. Green printing inks are the way of the future for the design industry, and it meets the needs, and it is a cost-effective method.

                                            Figure 4 Vegetable ink

 5.     Conclusion

The printing choices we make can be harmful to our planet, and we are the ones inflicting these consequences every day by the decisions we make. This essay has outlined various environmentally friendly questions and alternatives when making printing choices. Evidence has been given on the effects of printing with standard paper and ink and what it does to people's health and the environment. The essay argued for green printing, and a direct comparison was made on steps the design industry can take to a more sustainable printing future. The conclusion that green printing is the better option has been discussed, and evidence has been given to why it is the better option. Small changes do make a difference, and if a few hundred or thousand people and companies make that small change, it can pave the way to more sustainable ways of printing.

 Reference List

Argent, D. (2009). How t become a green printer. The Journal of Technology Studies, 36(3), 36-46. https://www.jstor.org/stable/jtechstud.35.2.36?read-now=1&seq=11#page_scan_tab_contents

David, A. (1992). The Environmental Impacts of Printing Inks. Earth Island Journal, 7(1). http://www.jstor.org/stable/43883325

Floriana, C. & Albertino, M. (2020) Oxidative degradation of non-recycled and recycled paper. Cellulose 27, 8977–8987. https://doi.org/10.1007/s10570-020-03395-0

Naik, D. & Kim, H. (2009). Green Printing: Colorimetric and Densitometric Analysis of Solvent-based and Vegetable Oil-based Inks of Multicolor Offset Printing. The Journal of Technology Studies, 35(2), 36-46. http://www.jstor.org/stable/jtechstud.35.2.36

James. M. (2015). Sustainability. https://www.britannica.com/science/sustainability

Jeffrey, W. (2001). The Alberta GPI Accounts: Ecological Footprint, pp. 3-4. http://www.jstor.org/stable/resrep00146.4

Jenifier, M. (1999). The Green Society? Leveraging the Government's Buying Powers to Create Markets for Recycled Products. Public Contract Law Journal, 29(1), 135-156. http://www.jstor.org/stable/25754390

Sade, M. (2020). The Environmental Costs of Office Printing. https://.greenoffice.co.za/the-environmental-costs-of-office-printing#:~:text=The%20manufacture%20of%20paper%20impacts,air%20pollution%20into%20the%20atmosphere.

Roger, M. (2008).

Green Printing: A Guide to Environmentally Responsible Printing. Technical Communication,

55(1), 9-22.

http://www.jstor.org/stable/43092392

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Subculture in Design: Graffiti Culture and Spatial Design - Keenan Harichund

Subculture in Design: Graffiti Culture and Spatial Design

Subculture in design boasts a wide variety of art styles, one of them being the graffiti subculture and their use of spatial design when identifying and solving a design problem. Graffiti artists use the space given to them to make their designs, whereas, in spatial design, the designer designs the space. This essay will look at the graffiti subculture within the South African context and show why incorporating subculture, in this context, graffiti artist's use of spatial design should be considered when identifying and solving a design problem. This essay will reference the graffiti subculture within South Africa, looking at examples of the Soweto towers as well as towns where the streets are filled with graffiti, making use of spatial design. Specific references will also be made to the spatial design field of design and use how kids at youth centers in South Africa use graffiti to decorate and design their space. The result will show how in South Africa, the fusion between spatial design and graffiti art exists and successfully identifies and solves a design problem.

Defining Subculture 

The term subculture derives from the word culture. It describes a group of individuals within a larger culture who display unique traits that can be categorized as its own culture, put, a culture within a culture. However, the criteria for the specific traits and characteristics that differentiate between culture and subculture are not universally agreed on, and many experts have given their opinion. (Jenks, 2005) 

Looking at how experts have dubbed a specific society a subculture and applying this into the South African context, graffiti artists could be categorized into the subculture category as their traits and interaction with what they do break norms of the larger society they form a part of. 

The concept of subculture only became used in social science literature after the Second World War and in the book 'Subculture: The Fragmentation of the Social,' the author, Chris Jenks, a professor of Sociology and Pro-Vice-Chancellor at Brunel University, gives quotes of people defining the early modern concept of subculture. The book mentions one definition that states subculture is "a subdivision of national culture, composed of several factorable social situations such as class status, ethnic background, regional and rural or urban residence, and religious affiliation, but forming in their combination a functional unity which has an integrated impact on the participating individual." (Jenks, 2005) This definition fits the context regarding social, economic, and political hegemony that one culture has over another in regards to social, economic, and political subcultures being created as a result of cultural hegemony. 

Another definition from the book states that the concept of subculture refers to "cultural variants displayed by certain segments of the population." (Jenks, 2005) The definition goes on to speak about how subcultures are 'worlds within worlds.' In terms of modern definitions of the concept and how it applies today, writer David Muggleton defines subculture in 'The Blackwell Encyclopedia of Sociology' as "a group with certain cultural features that enable it to be distinguished from other groups and the wider society from which it has emerged." (Muggleton, 2007) The concept changes as the traits and characteristics of cultural hegemony change over time. One culture takes bits and pieces from another culture and shares these beliefs and principles with other people, and creates what we know today as a subculture. Other reasons for the appearance of a subculture where there was none could be rebellious behavior or an individual not fitting into their own larger culture and gravitating towards a more relatable way of life that matches theirs. These definitions of a subculture have their weaknesses as it is argued that subculture should be categorized according to the interaction process between a sub-community rather than characteristics and traits that an individual might have as one might be interested in the culture rather than gravitate towards it, pulling away from the norms of their own umbrella culture. (Fine and Kleinman, 1979)

The Significance of the Graffiti Subculture in Identifying and Solving a Design Problem

In this way, in the design context, the specific interaction examined the graffiti culture is the use of space in the public area; in design, this is called spatial design. Graffiti Artists use the space given to them and create something from it, while in the private sector of the design field, spatial design encompasses creating the space for the design. 

Spatial analysis of graffiti is a crucial element to be considered in the private sector of design when identifying and solving a design problem as graffiti is a form of communication, which is the primary purpose of a designer, to communicate a message within a space visually. Veronika Megler, David Banis, and Heejun Chang speaking on spatial analysis of graffiti in San Francisco, state that "graffiti is created in areas with high densities of young males, and that commercial zones have the highest rate of graffiti reports." (Meglerax, Banis and Chang, 2014)

In South Africa, the graffiti culture is massive all over, with some being forms of vandalism and others considered forms of art in the right space and context. The way that graffiti artists use the space that's given to them makes the process quick and low-cost, which is why you never see a graffiti artist making a piece of work; relatively, the piece appearing where nothing existed just recently. Examples of this in South Africa stem from all over, from schools and kids writing on the walls to unique art displays that have become tourist destinations and put a mark in South African history and design. The unorthodox style of graffiti-based designs in South Africa is still seen in the same light as graffiti worldwide, with the same question being asked of its people, is it a form of art or a form of vandalism. Graffiti has a strong history within South Africa stemming from visual culture during the Apartheid period. The people used the streets to publicly and visually display their emotions and feelings as they had no other way. (Coombes, 2003)

Figure 1: Dlala Indima

(Dlala Indima, 2011)

Above shows Dlala Indima's work as "an alternative approach to cultural development by and for young people who are usually marginalized by the mainstream practice of culture‐led economic development." The example above shows the significance of graffiti artists' use of spatial design and graffiti as a form of development in South Africa, using graffiti and spatial design to better the community. As designers, we have roles and responsibilities that we have to uphold in the community. This is an example of 'using graffiti as a tool to beautify and engage the youth in developing self-worth through creative action and an intuitive, reflexive, and context-specific approach to place-making.' (Sitas, 2020)

In the private sector of design, where the style is more formal, graffiti artists' use of spatial design can come in handy when for example, a building has a flaw in the design and needs to be redone. Instead of the generic solution of removing the problem and building a new solution around it, use the space and flaw given to create an entirely new design solution that might be a better solution than what was previously intended. This keeps the design costs low as less material will be used, and no material already used is lost. This is why graffiti artists' use of spatial design is an essential element to be considered when identifying and solving a design solution.

In the South African context, graffiti and spatial design can be used for new design solutions, as shown above using the example of Dlala Indima and their use of graffiti and spatial design in culture-led development in South Africa and how designers can play their part when identifying and solving a design problem.

Examples of Successful Application of Graffiti in Spatial Design

The physical environment impacts customers and employees, and in the design field, this space in between interior and exterior is called spatial design. Graffiti artists' use of spatial design can be implemented in the design field, specifically, spatial design, to create a suitable atmosphere, physical design, or decor elements for the design solution's target audience. 

Mary Jo Bitner, one of the founders of the service marketing discipline (Bitner, 2021), speaking on 'The Impact of Physical Surroundings on Customers and Employees', states that the physical surroundings facilitate organizational achievement well as marketing goals. (Bitner, 2021) Examples of this use of spatial design and graffiti can be seen in the youth centers of South Africa and street art in Cape Town, which used spatial design and graffiti design to solve a design problem regarding the drought which was occurring in the community at the time. 

Figure 2: Zavkhan Youth Development Centre Opening

(Zakhan Youth Development Centre, 2014)

In the image above, we see artists from Zavkhan, Mongolia, using recycled banners and their imagination to create graffiti art for the Zavkhan Youth Development Centre opening. These artworks would decorate the center, adding to the overall aesthetic of the building. (Zakhan Youth Development Centre, 2014)

This image of how graffiti can solve spatial design solutions, where the interior space is the youth development center, is being decorated with the children's graffiti art, supporting the significance of graffiti art in the South African Context of culture-led development. This is one of the many youth centers that allow the youth to express themselves with graffiti in a safe place, which also works to design the development center.

The design for the development center included recycling and graffiti as a medium in which to work in. These artworks would then be used to design the center's look, giving an individual feel and energy, which, as mentioned earlier, is a crucial factor when making an impact on the customer or employee while supporting the role and responsibility of the designer to better the community. For this reason, this example of successful application regarding graffiti and spatial design. 

Figure 3: Orlando Towers

(Gauteng Tourism Authority, 2021)

The image above shows a view of the Orlando Towers in Soweto, which have been completely covered in brightly colored murals, one of which depicts scenes and images from township culture and the other with South Africa's corporate branding FNB bank. 

This is a perfect example of how spatial design and graffiti have been used to solve a design problem, the towers being the design problem as it had been shut down. Instead of removing the towers and leading to waste material, the towers were turned into a work of art that communicated a message and developed into a tourist attraction for South Africa. This example shows the role and responsibility of bettering the community and the successful implementation of spatial design by using the shape and space of the towers that was given to design an environment in which entertainment could exist, in this case, bungee jumping being the primary activity to do at the towers. 

Conclusion

Subculture in design boasts a wide variety of art styles, one of them being the graffiti subculture and their use of spatial design when identifying and solving a design problem. Graffiti artists use the space given to them to make their designs, whereas, in spatial design, the designer designs the space. This essay looked at the graffiti subculture within the South African context. It showed why incorporating subculture, in this context, graffiti artist's use of spatial design should be considered when identifying and solving a design problem. This essay made specific reference to the graffiti subculture within South Africa, looking at examples of the Soweto towers and towns where the streets are filled with graffiti, making use of spatial design. Specific references were also made to the spatial design field of design and used how kids at youth centers in South Africa use graffiti to decorate and design their space. Overall, it is shown how even though there is still debate as to whether graffiti is a form of art or vandalism, the way that graffiti artists use spatial design can still be useful when identifying and solving complex ensign solutions within a South African context.

References

Bitner, M., 2021. Mary Bitner. [online] W. P. Carey School of Business. Available at: <https://wpcarey.asu.edu/people/profile/68504> [Accessed 9 March 2021].

Coombes, A., 2003. History after apartheid: Visual culture and public memory in a democratic South Africa. 2nd ed. Durham, London: Duke University press.

Dlala Indima, 2011. street Art. [image] Available at: <https://www.instituteforpublicart.org/case-studies/dlala-indima/> [Accessed 9 March 2021].

Fine, G. and Kleinman, S., 1979. Rethinking Subculture: An Interactionist Analysis. American Journal of Sociology, [online] 85(1). Available at: <https://www.journals.uchicago.edu/doi/abs/10.1086/226971> [Accessed 9 March 2021].

Gauteng Tourism Authority, 2021. Bungee jumping at Orlando Towers. [image] Available at: <https://www.gauteng.net/attractions/orlando_towers> [Accessed 9 March 2021].

Jenks, C., 2005. Subculture: The Fragmentation of the Social. London: SAGE Publications LTD.

Meglerax, V., Banis, D. and Chang, H., 2014. Spatial analysis of graffiti in San Francisco. Applied Geography, [online] 54, pp.63-73. Available at: <https://www.sciencedirect.com/science/article/abs/pii/S0143622814001490> [Accessed 9 March 2021].

Muggleton, D., 2007. Subculture. The Blackwell Encyclopedia of Sociology, [online] Available at: <https://onlinelibrary.wiley.com/doi/abs/10.1002/9781405165518.wbeoss295> [Accessed 9 March 2021].

Sitas, R., 2020. Creative Cities, Graffiti and Culture‐Led Development in South Africa: Dlala Indima (‘Play Your Part’). International Journal of Urban and Regional Reseach, [online] 44(5). Available at: <https://onlinelibrary.wiley.com/doi/abs/10.1111/1468-2427.12894> [Accessed 9 March 2021].

Tayla Gentle, T., 2018. With an elephant and a cactus, artist Falk One comments on the Cape Town drought. The people of Langa have a huge respect for graffiti and the art is almost never vandalized.. [image] Available at: <https://adventure.com/langa-street-art-cape-town/> [Accessed 9 March 2021].

van Loon, J., n.d. Five Points in New York, one of the most famous places where graffiti is tolerated (Hall Of Fames). [image] Available at: <https://journals.openedition.org/belgeo/13062?lang=en> [Accessed 9 March 2021].

Zakhan Youth Development Centre, 2014. Zakhan Youth Development Centre Opening - Graffiti art time lapse. [video] Available at: <https://lao.unfpa.org/en/video/zakhan-youth-development-centre-opening-graffiti-art-time-lapse> [Accessed 9 March 2021].