Devil Tabwaḍt n Ifecka i Uselmed n Ufeṣṣel sɣur Lisa Winstanley d anerbaz yettwaqadren meqqren n 2026 Tarbaḥt A' Design Award n Lfeṭṭa deg Taggayt n Tnaflit n Afeṣṣel n Unuɣ, Tugna d Teywalt Tamulant.
LfeṭṭaUnuɣ· 2026
Devil Tabwaḍt n Ifecka i Uselmed n Ufeṣṣel
sɣur Lisa Winstanley
Amsaɣ: Design Ethics & Visual Integrity Lab (DEVIL)
Anerbaz n Tarbaḥt A' Design Award n Lfeṭṭa deg Taggayt n Unuɣ
Anerbaz n Urraz Yettwasenqden
Senqed Addad n Urraz i #183561Afeṣṣel
Ɣef Devil Tabwaḍt n Ifecka i Uselmed n Ufeṣṣel
Devil d tabwaḍt n ifecka n temsirin i d-yettwaxelqen i Tazeqqa n Tirmit n Tezdeg n Ufeṣṣel akked Tṣeḥḥa Tazerwant. Tabwaḍt-a d anagraw n teywalt tazerwant anda ttekkin yimdanen, i yettmagaren aserkes azerwan yerna yettalles i tikta n ufeṣṣel iseḥḥan deg uselmed n tẓuri akked ufeṣṣel. Irmuden yettwasuddsen, tikarḍiwin n usmekti akked tmagit tazerwant yeddan d yiwet, nheṛṛen axeddim s uxemmem. Iferdisen yettwasiggzen degsen adlis n uxeddim, akaram yettwaxedmen i lebɣi, tafelwit, tikarḍiwin n tuzzna akked usebter n tira, i d-yettwafarsen ɣef lkaɣeḍ Munken Polar Rough s telqayt n UV ɣef yimukan ibanen. Tabwaḍt-a tettalles i ulmad s ucrak deg waṭas n yiwellihen n uselmed yemgaraden.
Asmekti
Ɣef Tarbaḥt A' Design Award n Lfeṭṭa
Devil Tabwaḍt n Ifecka i Uselmed n Ufeṣṣel d amerbaḥ n Tarbaḥt A' Design Award n Lfeṭṭa, tagmat ɛlayen i yisnulfa yelhan, yeḥlan s waṭas. Imerbaḥen n Lfeṭṭa d isnulfa yelhan akk, yesɛan tmusni d tazmert. Devil Tabwaḍt n Ifecka i Uselmed n Ufeṣṣel ad yili d asnulfu amaynut, yelhan, ad yeǧǧ ddunit tennuɣ.
Deffir n ufeṣṣel
Tagrurt n tɣamsa
Ismawen n terbaɛt, iferdisen itiknikanen akked telɣut i d-yefka umeṣṣufeɣ.
- Taɣara Tasuft
- The Design Ethics & Visual Integrity Lab (DEVIL) toolkit is a participatory visual communication system designed to address visual plagiarism and cultivate ethical design practice for art and design faculty. It integrates structured activities, prompt cards, and a cohesive visual identity to guide reflective making. Distinct in its practice-led methodology, it translates research into tangible, scalable design artefacts that support critical, collaborative learning across contexts
- Tigejdiwin & Akemmus
- Toolkit components are designed for modular workshop use. Custom folder: 190 × 240 mm (closed), 791 × 260 mm (open with pocket), produced on 350 gsm Spectrum Black with silkscreen or blind spot UV detailing and elastic closure. Inserts: 160 × 210 mm, 150 gsm Munken Polar Rough, 22 pages. Neon dividers: 160 × 210 mm. Poster: 200 × 200 mm with custom fold. Postcards: A6. Notepad: A5.
- Tibzimin
- visual integrity, visual plagiarism, ethical design, participatory design, design toolkit, visual communication, design education, creative ethics, workshop design
- Tasnakta n Ufares
- The toolkit was developed through a practice-led, iterative design process, combining participatory workshops with prototyping and visual testing. Outputs include a suite of printed and physical artefacts such as a workbook, custom folder, poster, postcards, notepad, and branded objects including enamel pins, tote bags, mugs, and pencils. Production features Munken Polar Rough paper stock and spot UV detailing on black and neon substrates, creating a tactile, high-contrast visual system.
- Asewḥel n Usnulfu
- The primary challenge was translating complex, often ambiguous ethical issues into a clear and usable design system. Visual plagiarism sits within shifting cultural, legal, and technological contexts, particularly with the rise of AI. Balancing academic rigour with accessibility required iterative testing. Additional constraints included material production choices and ensuring the toolkit remained adaptable across diverse international teaching contexts.
- Anadi
- Practice-led design research aimed to address visual plagiarism and strengthen ethical decision-making in visual communication. Using participatory workshops and iterative prototyping, data was gathered through observation, discussion, video and audio recordings, and artefact analysis. Participants included international art and design faculty. The research informs the creation of a best practice toolkit in progress, to be disseminated to the creative community.
- Aseḥbiber
- This project comes from a simple observation, most ethical issues in design are not obvious, they sit in the small decisions we make every day, how we source, adapt, and transform images. That idea shaped both the name and identity, grounded in the belief that the devil is in the details. Built from real studio and workshop experience, the toolkit makes these hidden tensions visible through a hands-on, designer-focused system.
- Tanzagt n Usenfar
- The project commenced in January 2025 in Singapore and was completed in June 2025 at Nanyang Technological University. It was developed and tested through a series of participatory workshops conducted across multiple international locations, including Singapore, the United Kingdom, Australia, China, Taiwan, and Vietnam.
- Tanila n Umahil
- The toolkit is designed as a guided, hands-on experience. Participants move through structured activities using the workbook, supported by printed artefacts that prompt reflection, discussion, and making. The folder organises materials into stages, allowing users to navigate at their own pace. Interaction is tactile and collaborative, encouraging users to question decisions, share perspectives, and actively construct more considered design outcomes.
- Imsuren n Tugniwin
- Image #1: Photographer Lisa Peh (After Dusk Media), Art Director Lisa Winstanley, DEVIL Toolkit, 2025.
Image #2: Photographer Lisa Peh (After Dusk Media), Art Director Lisa Winstanley, DEVIL Toolkit Artefacts, 2025.
Image #3: Photographer Lisa Peh (After Dusk Media), Art Director Lisa Winstanley, DEVIL Workbook and Folder, 2025.
Image #4: Photographer Lisa Peh (After Dusk Media), Art Director Lisa Winstanley, DEVIL Postcards and Poster, 2025.
Image #5: Photographer Lisa Peh (After Dusk Media), Art Director Lisa Winstanley, DEVIL Branded Objects, 2025.
Yettwaxellṣen
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