The gatekeeper friction working against BIPOC designers has catastrophic implications for the distribution of wealth. BIPOC visual artists, too, play vital roles in the community. Being a mindful consumer in the music industry goes farther than seeking more BIPOC musical artists to listen to. From album covers to merchandise to […] This month is the inaugural issue of Seen, which has been designed by Oslo-based graphic designer Jelsen Lee Innocent and edited by BlackStar artistic director and CEO Maori Karmael Holmes. The Native Graphic Design Project is intended as a way to increase the visibility of Native, Native American, First Nations, American Indian, AmerIndian, Aboriginal, Metís, Native Alaskan, Indigenous, Indígina, and Inuit people working in the field of graphic design. The token hires are ultimately self-serving to White employers, but ignore the best interests of their employees. BIPOC visual culture journal Seen launches with “irreverent” design. We’ve assembled a list of genreless designers and illustrators of color to collaborate with for all your music-related visual needs. Every typeface carries the cultural marks of their makers, along with the stories of the political and cultural moment in which they were designed—but to date, those histories have been largely devoid of experiences from Black, indigenous, and people of color (BIPOC) designers.
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