Statement of Intent

Essay question: Are Feminist Publications Still Relevant Within the Digital Age of Fourth Wave Feminism?

The subject of this essay was to explore the reasons why feminist print publications are still considered relevant despite the fact a lot of feminist thought is now disseminated online, characterised as the fourth wave of feminism. A feminist publication called Headstrong was produced to test these theories physically and to analyse their success. The publication exemplifies a collection of techniques commonly used by modern feminists in order to create high impact and strong communication with the reader.

One of the reasons for the continual relevance of feminist publications is their ability to decode and analyse modern politics, which online can seem confusing and contradictory. As Jamieson (2017) has said, publications offer a more trustworthy, considered and reflective approach, rather than the chaotic updates and unfounded opinions seen online. Because of this, the spreads of Headstrong are designed to be simple and organised, this is so the images and the writing are the main focus and can immediately and clearly convey a political message, without distraction. This is an approach adopted by the feminist magazine Riposte, as the editor has said: 'we kept stylistic interventions and typographic tricks to a minimum and instead focused on creating simple spreads that don’t overshadow the content' (Pender, cited in Steven, 2013.) The pages of Headstrong use a lot of negative space, and the text is at most split into two columns, meaning that the pages are never crowded. The typeface for the main body text is the sans-serif Calibre, which has been used for its legibility and clarity. Some pages use full-bleed images, with few embellishments, this is so the images have high impact and can be appreciated in their entirety – often if magazines add many images on one page it can become overwhelming and the engagement is lost.

Nelson, the editor of The Spectator, has said that because there is too much writing online, people are turning to magazines for their political analysis (Nelson, 2017) – and this is a potential reason why feminist magazines are increasing. Because of this, the content of Headstrong is entirely essay based. The essays critique and observe modern society and are the central focus of the magazine. I have chosen to cut away the usual magazine 'fluff' and create a publication similar to an anthology, redefining what a feminist magazine is within fourth-wave feminism. People go online for light feminist discourse, but they look to publications for intellectual discussion and analysis which is why a short, casually-written, anthology is the perfect format for this.

Another section of the essay discussed tactility and how an experience which involves the feeling of touch can be more affecting and influencing then looking at visuals online. Pender has said that 'print offers a different experience altogether. It's sensory, the smell and the feel each add something different to the content' (Pender, 2015). This suggests tactility can add depth to feminist work and is a key attribute which sets magazines apart from digital media. Because of this, a highly tactile experience has been a priority for Headstrong. The stock used for the cover was 'Museum Heritage' which displays 'a high degree of detail and pronounced texture', immediately making the publication seem legitimate and professional. It is thick and has absorbed the colour well, making it vibrant and appealing, far more sensory than the feminism seen online.

By using such a thick stock, the publication appears almost like an art journal. It becomes something more likely to be kept, treasured and referred to by the reader. This is important, as research conducted for the essay suggests magazines remain relevant because they offer historical significance. They can be kept to mark the particular mode of feminism at the time, so that feminists of the future don't have to act as trailblazers on a path that has already been made (Piepmeier, 2009, p18). Whilst online documentation is less certain, it is the responsibility of publications to one day act as artefacts for previous thought. This is why Headstrong has been made thick and durable – so it is more likely to be kept and is long-lasting for the future.

To heighten the tactile experience, several different stocks were going to be used for the centre pages, including a thin matte card and a thin gloss called 'Digigreen Silk'. This was to maintain the reader’s engagement throughout the magazine, creating consistent stimulation on alternating pages. However due to complications, the Digigreen Silk was unable to print colour to a high standard. With limitations in digital print, the only stock that could print double-sided to a high standard was the thin matte card. Despite the fact only one stock was used for the centre pages of the final product, it still created a luxurious and tactile experience. The print quality was made the priority, which is most important to create something professional and trustworthy.

Ziesler has said that for feminist magazines 'it is impossible to imagine a future where they will recapture the relevance they once had' (Ziesler, 2013, p178-179) within this digital age of feminism. For this reason, Headstrong has also been put online through Issuu in order for it to be disseminated to a wider, online audience. This shows a relationship with online media which is essential for the physical publication to exist within the fourth wave. The Instagram handles of the authors were also used to show acknowledgement and acceptance of the online feminist community.

Another section of the essay talked about how feminist values of community and intersectionality are explored within modern feminist publications. As Triggs has suggested, feminist communication is defined by community (Triggs, 2000, p156) so it essential for this to be shown in magazines. Intersectionality is a key attribute of fourth-wave feminism, so research suggests feminist publications need to adopt this in order to remain progressive. So it became important that Headstrong conveyed these values through its design and content. Because the publication involved contacting women for feminist essays, this in itself created a community of authors across the UK. Discussing and developing concepts with these women created a connection and can be considered the foundation of the publication's community values. The authors represented an intersectional group of women, ranging in race, sexuality, age and size, which meant the content was wide ranging and representative. The last page of the magazine gives an open call for readers to send in their own essays for future issues of Headstrong, this creates a community between the writers and the hypothetical publication team.

On discussing women's magazines, Winship has said that making personal and private experiences public can create a community among women, leading them to unite together with 'supportive strength' (Winship, 1987, p125). This is why Headstrong has been designed to create more of a personal link between reader and author. The outset quotes are written in the serif typeface Caslon, which creates more of a traditional, personal link with the author. For two articles, images of the authors appear with the text, this immediately creates more of a personal relationship with the reader – allowing them to imagine the person writing the words. Perhaps this could have been something developed for all of the articles.

One way that intersectionality has been conveyed as a theme for Headstrong was the cover, which illustrates a collection of fruit, of all different sizes and colours, interacting with each other. Their relation to body type has been signified by the illustrations of breasts over the fruit. The cover immediately encourages diversity and by not using a photograph of one woman, as magazines traditionally do, it doesn't exclude any viewers. One thing that could have made the magazine more intersectional, would have been to include a wider range of women on the inside of the magazine, there are limited photographs throughout, but there could definitely have been more representation.

Finally, the essay discussed how femininity is displayed in feminist publications and how this should be approached carefully. Again, by not using an image of a woman on the cover, there is no expectation or commentary on how a women should portray their femininity. 'Many women are less attracted to feminism than intimidated by what it seems to stand for: a wholesale rejection of all the personal and institutional baggage associated with femininity' (Winship, 1987, p125). So it is important that for the Headstrong cover an image was used which didn't ridicule femininity with how a feminist should or shouldn't look. Similar to Riposte, I placed emphasis on the work of the authors, rather than what they looked like. The back cover is entirely designed as a showcase of the essays inside the magazine.

Another concept developed was the use of both serif and sans-serif typefaces throughout the magazine. This was to represent the intersection of traditional feminine and masculine appearances, with serif characterising 'feminine beauty' and the sans-serif characterising 'masculine strength'. By using the two in correspondence, it creates an overlap and overrides traditional expectations of how a woman should be represented.

In conclusion, the outcome successfully utilised the research conducted within the essay. Headstrong communicates feminist ideas in a way that is completely different to the experience of fourth-wave digital feminism. It creates a tangible, more personal, kind of engagement which is necessary when ideas online can seem so distant.

Evaluation

To conclude, the design proves that modern, feminist ideas can still be successfully communicated in the publication format, which offers attributes quite separate from online. A physical publication creates high impact and requires interaction, whilst online feminist communication is distant and removed. Headstrong has been designed with restraint and simplicity in order to have high impact, but perhaps it can be considered too simple. 

 

In order to be just has stimulating as online, it could have been developed to offer unrelenting content – so the viewer is constantly engaged with the work. Similar to one of my initial design ideas involving a more colour based approach. Yet from research it suggests magazines are still relevant because they offer something different, they offer a break from online communication. Recreating the constant stimulation of online in a physical format would be redundant. That being said, an online presence for Headstrong could have been further developed for the magazine since this is necessary for feminist magazines to create a reputation for themselves and to ensure sales – perhaps a website and Instragram could have been developed to show willingness to interact with online culture. In some ways this has been acknowledged by the way I have disseminated the magazine on Issuu and the fact the authors Instagram handles have been included.

One of the main characteristics of the fourth-wave feminism is a new and developed focus on intersecting oppressions. In order for Headstrong to be relevant it needed to portray intersectional ideals. Although the cover was chosen for its diverse and intersectional message, with fruit used as a symbol for diversity of size and colour, and the authors ranged in race, age, sexuality and size - the content still could have been more intersectional. This is something incredibly important to push in modern feminist design and could have been taken further in Headstrong. 

Overall the design exemplifies reasons for the continual relevance of feminist publications and has been printed to a professional standard. In many ways feminist publications may always be relevant, as they communicate a message which engages the reader in a physical way - tt calls them to action and confronts them with feminist ideas, whilst online writing can seem separate and distant from the reader. Headstrong has been designed explicitly to be as physically engaging as possible and exemplifies the characteristics which cause feminists to continue to invest in such publications.

Practical - Article Content - Protest Press

As part of my research I decided to contact the design collective 'Protest Press' to see if they would be interested in being interviewed in an article for Headstrong. This was to encourage community and to create wider connections for the magazine's reputation. Their movement felt especially relevant as their collective using a lot of handmade, physical techniques to create protest work. Their collective is also made of 5 women so it felt useful that they would be able to give the feminist perspective of women in design. Additionally, I attended a workshop by two of the women: Aoife and Grace, which meant I was able to collect imagery for the magazine.

1. What inspired you to start Protest Press?

We started Protest Press at the beginning of our final year, as five graphic design students united by using design to activate change. It was very simple at the beginning and grew from using the accessible resources and facilities of our university. 

It also came from a place of perseverance and belief that design could positively help to create social, environmental or political shifts. For example, when the Brexit vote result was announced in 2016, we all couldn’t help but feel disappointed that we didn’t do more to support the cause we so believed in. Design holds so much power in forming a better understanding - from reaching a wider audience, to simply covering a message with clarity.

2. Why do you think it's important to get young people making protest art?

From our workshops we’ve seen the educated and opinionated views of amazing young people. It’s uplifting to see this, especially in the face of what we think is a slightly looked down upon view of young people not having important opinions or understandings, for example voting being restricted for under 18s. 

Younger generations hold wondrous skills in creativity and imagination, and its great to see the two pair together through the design methods of Protest Press. 

We think overall it’s significantly important that people realise the value of their voice and use it as active empowerment.

3. In your presentation you discussed the Suffragettes as one of your inspirations, could you explain a bit more about this?

As five women, we see the Suffragette movement as having paved the freedom that we live and society we live in now. It’s particularly inspiring to see that various forms of communication were used to articulate and circulate messages of hope and equality. 

4. And finally, what future plans do you have for Protest Press?

Protest Press is a side passion for all of us and something we see shaping a brighter tomorrow. On the horizon for 2019, we see further large workshops but also connecting with smaller community bases. We see a push of possibilities through design methods and a space for greater diverse collaborations.

Unfortunately these answers arrived after the publication had been printed, however this was an interesting in experiment in networking in the wider community and creating a reputation for the magazine. If Headstrong ever made a second issue this could certainly be included.

Practical - Final Design on Issuu

My research suggests that in order for modern publications to be successful, they need to have certain digital applications. By publishing the magazine on Issuu, it means that the physical layout is still accessible by most people. Allowing the ideas to be disseminated without large cost or material waste. The physical copy might be considered more impacting, but in this format the magazine layout can still be appreciated.

Ethical Considerations

Practical

In terms of ethics, one big consideration was the use of naked model for the '"Your Nipple Should Be Here": Reflections on Body Image' article. I ensured that the model gave her consent and was entirely comfortable during the photography session, having arranged with the studio what was happening for complete privacy. This was important as the modesty of the model needed to be entirely protected. A naked model was used in order for the article to be more affecting and empowering. With the arrangement of the fruit it was creating commentary on how are bodies aren't something we should be ashamed of. I also considered how this imagery would affect the casual viewer, thinking about how some might be made uncomfortable by the nudity. Consciously, the naked image was not used for the cover, so that only readers would need to interact with it. On the inside, the images are tasteful, paired with very serious content, the purpose is entirely clear. Although the image is surprising, it creates a bold message, and this is important for feminist work. I felt that the majority of readers wouldn't be made uncomfortable by the image, and if they are, the intention of the article is to encourage comfort in our body shape and is part of the feminist statement I have adopted for the magazine.

Another consideration was that one of the articles 'Consent is Consent', contains content which discusses rape and sexual assault.This is essential to make sure people are informed about such occurrences and current events, including how this issue is being handled in court. However, the author and I felt it was necessary to include a trigger warning at the start of the article, so that anyone who has experienced such abuse isn't going to read it unaware, and become distressed. The design was also taken seriously, for a sensitive and clear approach. 

Finally, since people have sent me articles for the magazine, it was important to acknowledge and credit them for everything they submitted. If this was to be published and distributed I would discuss ownership with the authors and their rights to the work.

Essay

In terms of the essay, no ethics have been breached to my knowledge. All authors were acknowledged and referenced clearly and all other work is my own.

In some respects the concept of favouring physical publications over online communication has some sustainability considerations. The process of printing on card and paper is using resources which wouldn't necessarily need to be used if the information was just disseminated online. However, as the essay suggests, physical production can have a larger more influencing impact on the reader, and can be considered worth the use of resources. Perhaps in future there will be a larger development of ways to utilise the magazine format online, like Issuu for example, so that more resources are conserved.

Practical - Final Stock and Texture

For the final piece 'Museum Heritage' card was used for the cover. This created a thick and luxurious texture and improved the sensory experience of the publication entirely. As Pender has said, 'print is sensory, the smell and the feel each add something different to the content' (people of print) and this makes the publication desirable and more professional and valuable than the modes of dissemination online. It immediately engages the reader in an experience, confronting them with the content. Whilst online can seem very distanced and removed, this feels far more linked to the authors and the community. This stock is perfect to display 'a high degree of detail and pronounced texture' which makes the publication seem trustworthy and professional - people or more likely to trust the publications legitimacy if it is printed on high quality stock. Pender has also said that 'something committed to print holds more weight in the eye of the reader than something online,' (2015). Suggesting the quality of the print may also encourage the importance felt about the publication.

Practical - Final Cover Experiments

Because the initial print of the photograph didn't come out well, one of my experiments was to use the just the outline of the illustrations. This perhaps would have worked better, but conceptually it completely negates from the intersectional theme I am trying to convey. Instead I also tried an image that was better quality, but only pictured two fruits. This again might look better in print, but does not show diversity or range.

I also experimented with the photo overlay style I looked at in Vice magazine. This was so the texture might be less noticeable when the content was overlaid. It also was meant to convey an intersection of images, linked by the Headstrong logo, this however felt too ambiguous.

Finally I decided to develop the original cover and use a different stock, one sided, so the inkjet printer could be used for a better finish. This felt like a far better approach for a tactile experience, plus it meant that the image involving all of the fruit could be used, as it works best in conveying an intersectional, diverse theme. The stock I plan to use for the cover is 'Museum Heritage', which is thick and rough and should absorb a lot of colour consistently. It has been described as allowing 'a high degree of detail and pronounced texture', which will be perfect for the tactile experience I have researched is essential.