In the 1980s, computer technology hit the social market on various different fronts. Computer technology wasn’t used to do the creative design at that time. It was seen as a tool for technology-based industries (Something from nothing. ). Visual Artist, April Greiman was one of the first designers to understand the potential as a new visual medium of it and embrace new advances in the digital era to push the boundaries of design. Her explored the word, color, and image as a unit object in time and space and use it in her design concept.Those are all base from her singular fusion of technology and art. Greiman has been instrumental in the acceptance and application of advanced technology in the process of art and design since the early 1980s. Transmedia projects, innovative ideas and hybrid-based approach from Greiman have been influential worldwide (Something from nothing. ).

After she settled on the idea of going to art school and applied to Rhode Island School of Design, began shortly her formal design education. But the dean of admissions pointed out that Greiman’s portfolio was very strong in graphics and suggested that she apply to the graphic design program at Kansas City Art Institute. At KCAI, Greiman has studied the principles of Modernism. Inspired by this experience, she went to Basel for graduate school. As a student of Armin Hoffman and Wolfgang Weingart in the early 1970s, Greiman explored further in the International Style. Weingart introduced what is now called the New Wave to Greiman( Aprilgreiman.Com.).Greiman designs were significant for its innovative use of computer technology that explored New Wave typography meaning with classical design elements. Greiman began experimenting different approach to switch the two-dimensional and then reimagine it into a more three-or-four-dimensional design (Something from nothing. ).

One of the artwork from April Greiman, shown in picture 1, titled “Iris Light”.This poster completed in 1984 for Ron Rezek, which was important because of its innovative use of video imagery and integration of New Wave typography with classical design elements. Letter in wide space, different weights type within a single word or typeset on an angle were explored, not as mere stylistic indulgences but in an effort to expand typographic communication more meaningfully. (Aprilgreiman.Com. ).

Greiman says, “Instead of looking like a bad photograph, the image was gestural. It looked like a painting; it captured the spirit of light.” (Aprilgreiman.Com. ). “Iris Light” is a  special artwork for Greiman. It is the first hybrid piece incorporating digital technology. This work incorporated a still video image at a time when this meant shooting a traditional photograph off the monitor using a 35mm camera (Aprilgreiman.Com. ).In this case, the video technology integrated with the concept of light: light from the video screen combined with light from the lamp resulted in an image wherein the form matched the content.

As April Greiman entered the technology world, she quickly adapted it and enhanced into her three-dimensional design. She reshapes the wave style in a new way. Because of Greiman’s conceptual application of digital technology, her works were well known during the 70s. However,

as people gain a better understanding of modern communication systems and the need to match the dominant mass media in its monopoly on distribution, it becomes clear that more sophisticated strategies must be developed to present other viewpoints. While the poster still retains undeniable appeal and a particular, unique application, we are finding that computer, video, film, radio, and television are by far the more effective and relevant art forms of our day

( Inkahoots and Socially Concerned Design: Part 1.  .

She moved to Los Angeles in 1976, establishing her multi-disciplinary practice, currently called Made in Space（madeinspace）. She operates and works out of a studio in Los Angeles titled Made In Space, where she “…blends technology, science, word and image with color and space…”(Something from nothing. ).In Greiman’s work, there are often can be seen as the Gendered Object.As the public exposure of a woman’s body was seen as a taboo among the public during that time( Inkahoots and Socially Concerned Design: Part 1.). Her work was significant in that it addressed the idea of “taboo” by representing a bare body in a scientific matter rather than a provocative and sexualized tone. But the public often has forgotten Greiman’s works in the 21st century because of the inundated designs within computer technology and the misunderstanding of its context.

Reference:

1.”April Greiman”. Aprilgreiman.Com. Last modified 2019. Accessed April 8, 2019. http://aprilgreiman.com/.

2.Design Observer. (2019). Inkahoots and Socially Concerned Design: Part 1. [online] Available at: https://designobserver.com/feature/inkahoots-and-socially-concerned-design-part-1/37948 [Accessed 11 Apr. 2019].

3.madeinspace. (2019). madeinspace | about. [online] Available at: https://www.madeinspace.la/about [Accessed 10 Apr. 2019].

4,Greiman, A. and Janigian, A. (2001). Something from nothing. Crans-Près-Céligny: Roto Vision.

According to this article paragraphs :

We argue that, for a woman with the requisite talents to attempt to become a successful designer today, there are three stages where barriers are likely to be perceived and imposed, barriers that a similarly talented man would not face. These are crucial in determining the position of women in both graphics and industrial design. (Women Designers — Is There A Gender Trap)

It seems fair to assume that the situation in contemporary design sphere is gender neutral, while it’s also fair to think that there is still a transparent gap between male and female designers and artists(Bauhaus women). Contemporary feminist furniture design is a fresh troop in the design field. Some of the design concepts are much closer to the family, from the female perspective.People-oriented,multi-dimensional expansion and the equal importance for form and content are also the basic concepts. Its aesthetic features are rich in color, mostly show in bright or fresh colors.Also, the curve is soft and graceful, fully consider the psychological needs of specific customers: functional and practical, tend to be simple and convenient to operate. Female care, equal dignity, self-realization, and ecological design are its cultural connotations( roly poly).

British based – designer Faye Toogood. One of the artworks from Faye Toogood, shown in figure 1, is manufactured with fiberglass.This furniture has drawn inspiration from the designer’s experience of pregnancy. The relative subject rarely explored by either male or female contemporary designers. British designer Faye Toogood designed Roly Poly armchair, a response to desiring a comfortable chair while pregnant(DESIGNING WOMEN,2019). Faye Toogood’s Roly-Poly furniture is attractive with the reassuring thick lines The latest furniture design from the Italian design company uses the sleek, warm shape of the limited edition Assemblage No 4 series. The low seat can add soft cushions to fill the curved bowl shape.It features a new sofa that further explores the aesthetics of Roly-Poly, highlighting the interplay between the elegantly curved arc of the scooped seat and the four stout and solid legs that support it( roly poly).

Her furniture and designed objects demonstrate an occupation for experimentation, pure self-expression, and instinct. All of her artworks are handmade by traditional artisans. Toogood as a former interiors editor of influential UK magazine The World of Interiors.She encourages to the public that makes conversations about gendered design, culture, form, and functionality(DESIGNING WOMEN,2019).

In the design of consumer activities, women as the main in the design process that play a  great role in design. Feminist design provides new materials for harmonious design and human design, enriching the contemporary Western design theory space. Based on an understanding of the characteristics of the family and women themselves, feminist designers are better able to grasp the design details and characteristics of family life (Women Designers — Is There A Gender Trap). Although feminist furniture design incorporates the physiological characteristics of the female group into the product form, there is still part of feminist furniture design emphasizes that its product form is important than product function in the design process. From the Design Journal mentioned: For instance, within Scandinavian design minimalism and functionalism are emphasized as ideals. As mentioned earlier, a ‘good’ person with ‘high’ morale does not lounge on the couch with a bag of crisps (Ahl and Olsson, 2002)(Good Taste Vs. Good Design). In my opinions, form serves the function. Functions are the heart of product design. The practicality of the design product is the most important thing that has to concern the designers and also influenced by the market.And it is the driving force behind the design object. Therefore, all aspects of design are linked with function, combined with feminist ideas. The final outcomes express through materialized forms.

Because designers are inevitably subject to the ideas and influences of their social context, their designs must reflect their values. The subjective thinking of feminist furniture design and the characteristics of diversified thinking enrich the design field. But does the design product that overemphasizes femininity actually cater to the male culture under patriarchy from the opposite side? From my perspective, in terms of design, women should more be involved in the design.Female consciousness is an important embodiment of the humanized design. To carry out humanized design, we must face the hidden female consciousness in the heart of human beings, integrate female consciousness into the creation of design, and make up for the lack of modern design.

References:

1.Bruce, Margaret, and Jenny Lewis. “Women Designers — Is There A Gender Trap?”. Design Studies 11, no. 2 (1990): 114-120.

2.Christoforidou, Despina, Elin Olander, Anders Warell, and Lisbeth Svengren Holm. “Good Taste Vs. Good Design: A Tug Of War In The Light Of Bling”. The Design Journal 15, no. 2 (2012): 185-202.

3.poly, r. (2019). roly poly. [online] Driade.com. Available at: http://www.driade.com/en/roly-poly-1 [Accessed 9 Apr. 2019].

4.DESIGNING WOMEN,ngv.vic.gov.au.(https://www.ngv.vic.gov.au/exhibition/designing-women/

5.Muller, U. (2015). Bauhaus women. [Place of publication not identified]: Flammarion.