Like many other tools, technologies, and processes, design has tremendous power that can be focused in almost any direction and to almost any end. Way too often, it is used to further a capitalist, consumerist agenda or to prevent, rather than promote, critical thought and action. Thankfully, there is always a countervailing conversation that offers alternatives, speaks truth to power, and seeks to increase equity, justice, sustainability, and the collective power of ordinary people. Design, of course, has tremendous power to amplify those dissenting voices as well. it, in fact, has a responsibility to do so if for no other reason than to facilitate those alternatives.

For over a decade, working under the studio moniker "the new programme" and with the help of a small stream of student collaborators, I've served as the principal designer for "Stand Up KC". This organization is a founding city in the nationwide "Fight for $15" movement to earn restaurant and low-wage workers a living wage, needed benefits, increased workplace safety, freedom from sexual harassment, and the right to unionize. Kansas City was one of the first seven cities in American history to see fast food workers go on strike.

I was approached by one of the primary organizers, Mike Enriquez, after working alongside him on several similar initiatives that proved to be great test cases for what "Stand Up KC" would grow into – a powerful voice for anti-racist, working-class organizing, and one of the more visible and impactful groups in this nationwide struggle. This became possible because we have maintained a long-running relationship, and because Mike recognized that thoughtful and strategic design could add credibility, increase worker solidarity, and amplify the messages that proved critical to the movement's success.

All the same principles of identity design can fight capital in addition to promoting it. "Stand Up KC"'s visual identity created a solid foundation on which to build a wide array of posters, banners, flyers, and other ephemera needed by the organization. What follows is much of what I've learned from these experiences over more than a decade of fruitful collaboration.

Most anyone at this point knows that one key to a strong visual identity is consistency of application. Establish the values, build elements that visually embody those values, and use them every chance you get across all touchpoints. Building a consistent identity does three key things:

This work has been the highlight of my career so far, and reflecting on it feels like this group of tireless and determined workers is taking their place in history, with me graphically amplifying, cohering, and supporting them along the way. A thoughtful, strategic design approach matters because it allows grassroots organizations to leverage the power of graphic design to clarify, maximize, and legitimize their messages. Well-planned and -organized protests take advantage of the moment, creating ripples through media beyond their initial presence in the street. Graphic design has been a force-multiplier for this movement and can do the same for any other.

Designing for dissent matters now as much as it ever has – maybe more – as our world hurtles toward increasing chaos and injustice on nearly every front. For those looking to contribute their creative skills in similar ways, I will suggest what I require of my students – find a community or cause you care deeply about, and is values-aligned. Go to a meeting or event, attend a protest, introduce yourself, and start conversations. We are all humans first and foremost, and progress is built out of our relationships. Be humble, curious, establish trust, then contribute your unique creative skills to further their cause. Build from there. All resistance movements need that force-multiplier of design, and deserve that kind of creative care way more than international corporations. As you start down that path, consider this wisdom from Assata Shakur:

tyler galloway is a Professor and Chair of Graphic Design at Kansas City Art Institute. With a BFA in graphic design from Missouri State University and an MGD from North Carolina State University his studio practice as "the new programme" focuses on design for social change and participatory design processes. Working primarily with activist-oriented non-profits, he seeks to communicate creatively and strategically from the bottom-up, focusing on fundamental human needs and rights, reflecting community voices as much as possible, and collaborating with other working-class people who share his values. His work has been published in the books "The Design of Dissent", "Posters for the Planet", "Graphis Poster Annual", "Reproduce and Revolt", in Communication Arts, and the Turkish socio-political design magazine "No Tasarim". But perhaps just as important, tyler loves riding bikes, punk rock, vegan cookies and being a husband and dad.

thenewprogramme.net