Note: I completely forgot to explain how I’ve written my Statement of Intent in my hand in. Basically, the main text is my original SOI, and the italicised text describes how each section has changed. Apologies for any confusion.
Throughout my third year, my overall rational and intentions as a designer have changed very little. They have mainly been concerned with professionalism—producing work based on ‘real-life’ considerations such as audience, timescale, budget, etc—and social responsibility—approaching design from the point of view that design doesn’t exist in a vacuum, that it is one link in a much larger chain, meaning that, for me, questions of responsibility need to be about more than specifying recycled paper. During my FMP I also started wanting to make myself a more ‘rounded’ designer, because I believe the ability to design websites (when someone else may not be able to), for example, could be the thing that wins or loses you a branding job. The more ‘strings in your bow’, the better. A lesser goal for my Final Major Project has been to have fun and experiment, as this is possibly the last chance I have to be in full control of my work.
While I wouldn’t say that I am now a professional, versatile and responsible designer, I would say that through my Final Major Project I have improved in the areas I wanted to. Different briefs helped me in different areas. For example doing web design for an ethically driven company has helped me become more versatile by developing my basic level of web design knowledge, forced me to work to tight deadlines, and given me an insight into working for clients concerned with social responsibility. However, my Made You Think brief allowed me experiment, and develop my understanding of various social issues, however I went about this brief in the most unprofessional, erratic and rushed way.
I feel that the smaller briefs (with the exception of the EYS competition) went fairly well, I engaged with them and felt I learnt from them. I also really enjoyed putting together the design context book, which I feel let me explore the design industry as well as giving me an excuse to really experiment with layout (obviously the typo on the cover and the print defects were a low point). However, I’m not sure how I feel about my work for my main brief (Made You Think). When I look at my outcomes I think that what I have done is fairly good—for the best part functional designs that look alright—but I think I wanted more than that, I wanted something a bit more cohesive and thorough. My submission for this brief, with the possible exception of the booklet, felt more like examples of ‘how it could be done’ than a finished ‘series’. I think that there are a number of reasons why this brief wasn’t quite as strong as I would have liked it to be, and it’s mainly to do with project management. I spent too long at the start researching and being confused with what exactly I wanted to produce, putting off committing to any actual decisions. This resulted in most of the design work being done in the last few weeks, which I thought would have been fine, except I hadn’t factored in the day to day setbacks—spending ages chasing up emails, wasting a whole day trying to upload my Design Context book to Lulu (and then a further half a day when they printed it wrong), spilling coffee on my keyboard and being without a keyboard for a weekend, etc. Things like that are regrettable and I’m a bit annoyed with myself for being so unorganised, however the main factor in my manic struggle over the final few days before the deadline (and the resultant unorganised hand-in) was the 2010/2011 prospectus pitch I decided to enter the week before the deadline. Winning this took a couple of days away from college work (meetings and a photo-shoot), at a time when I really couldn’t afford to spare any time. I don’t see this as a bad thing however, as I think the prospectus design (as a portfolio piece) is more important, in terms of my future, than a good grade (similarly, doing an internship at UHC meant that my FMP got off to a slow start, but it was worth it because I got valuable experience, a job offer, and the promise of future collaborations). So in that sense it was a worthy sacrifice, and although I’m not 100% satisfied with my submission, there is at least a little time to make things better for the show—I think that having a good show and selling yourself visually is arguably as important as getting good grades.
In summary, I don’t feel like I have progressed much as a ‘design student’ (in terms of ‘ticking the boxes’ getting good marks, etc); but what my FMP has done, however, is helped me on my way to becoming a professional designer.
Showing posts with label Design Context. Show all posts
Showing posts with label Design Context. Show all posts
Sunday, 7 June 2009
Friday, 29 May 2009
Thursday, 28 May 2009
Creative Review / BETC Euro RSCG / The Clocks Project / Crap photo
I found this in the new Creative Review. Its brilliant. Every 12 hours the 321 clock mechanisms inside an ad-shell spell out 'Every 12 hours in Africa, over 2,000 people die of Aids becuase they have no access to care. Every minute counts. www.solidarite-sida.org'.
Well done!
Well done!
Couldn't have worked out better
My Design Context book came back from Lulu yesterday. Looks quite good — except the typo. Oh, and Lulu messed up the printing in places. An all round success if you ask me...
Typo:
Spread 'em:
How a 3% black drop-shadow prints at Lulu... as a solid black box...awesome:
Friday, 15 May 2009
I've actually spelt my name wrong
I was just putting this post together. As I was uploading the images of my lovely book I noticed the last thing I ever wanted to notice, ever. I had made I spelling mistake...I spelled my name wrong....on the front cover....
I must have pressed 't' the short cut for selecting the type tool in InDesign, not realising I already had the type tool up, and a text box selected. I must have done it just before I exported it because I made sure I checked I had spelt my name right (I didn't want to look like an idiot did I).
After nearly breaking my fist punching the wall, I realised that this could infact be a blessing in disguise: lets face it, the Lulu cover is going to be some flimsy overly glossy piece of crap. This is an excuse to make myself a new cover. I can have full control over the stock I use, all I need to do is tear the old cover off (its just a little bit of glue down the spine), and glue a nice new (typo-free) cover. Awesome!
Every cloud....
Anyways, here is the original post (check the cover at the end)
I uploaded and ordered my Design Context book from lulu.com yesterday. It took ages, this was for two reasons. 1. I'm an idiot and kept noticing mistakes and having to reupload it. 2. Lulu's an idiot. She doesn't give much info on full bleed pages, I had to search through the frequently asked questions section to get info I needed - ie, do you export PDFs as spreads or single pages, and do you add bleed to all edges, or just the outside ones?
Still £18 for a 127 page book isn't three bad at all...
Click here to download it as a PDF (if you do this please don't tell me about any spelling mistakes or owt like that — I really don't want to know).
Here's some spreads:
And the cover:
I must have pressed 't' the short cut for selecting the type tool in InDesign, not realising I already had the type tool up, and a text box selected. I must have done it just before I exported it because I made sure I checked I had spelt my name right (I didn't want to look like an idiot did I).
After nearly breaking my fist punching the wall, I realised that this could infact be a blessing in disguise: lets face it, the Lulu cover is going to be some flimsy overly glossy piece of crap. This is an excuse to make myself a new cover. I can have full control over the stock I use, all I need to do is tear the old cover off (its just a little bit of glue down the spine), and glue a nice new (typo-free) cover. Awesome!
Every cloud....
Anyways, here is the original post (check the cover at the end)
I uploaded and ordered my Design Context book from lulu.com yesterday. It took ages, this was for two reasons. 1. I'm an idiot and kept noticing mistakes and having to reupload it. 2. Lulu's an idiot. She doesn't give much info on full bleed pages, I had to search through the frequently asked questions section to get info I needed - ie, do you export PDFs as spreads or single pages, and do you add bleed to all edges, or just the outside ones?
Still £18 for a 127 page book isn't three bad at all...
Click here to download it as a PDF (if you do this please don't tell me about any spelling mistakes or owt like that — I really don't want to know).
Here's some spreads:
And the cover:
Thursday, 14 May 2009
UHC Q&A
Ultimate Holding Company is a Manchester based collective committed to sustainable practices, ethical and responsible business, and design driven grass roots collaboration. Clients include Greenpeace UK, Camp for Climate Action and Amnesty International.
I recently did a fairly extensive interview with Sara, from UHC. Here it is:
When and why was UHC set up? What is the rationale behind UHC? Why did you make the decision to be a co-op?
UHC was set up in 2002 by a group of artists and activists wanting to change the world through politically engaged art projects and by providing design services for ethically motivated clients.
The decision to be a Co-op came from an appreciation, as a 'values driven' company, of the Co-operative principles of running a democratically controlled organization where it's the members who benefit from the activities of the business.
How different do you think that UHC is from one that isn't ethically driven, in terms of both the practical running of the studio and the process involved in the actual design?
Many agencies have an environmental policy nowadays and are very conscious of using recycled paper, energy saving light bulbs etc. so compared to some 'normal' agencies, in some areas, we don't vary a great deal in terms of our practical day to day running and our 'green' activities. That said, we feel that we both have a very social awareness in terms of the work we do and why, and when it comes to the little day to day things we probably do more than most standard studios. We are not pedantic perfectionists however and realise that being too strict can also make things very difficult in terms of running a business. That does not
excuse not putting in an effort though and as an environmentally aware studio we do all the usual things like use recycled paper, often use reclaimed furniture to fit out the studio, recycle our waste paper, use energy saving light bulbs where possible, drink fair trade coffee, try and buy organic food, get recycled loo rolls etc etc. In the long run however we want our energy supply to be sustainable as well and want the studio to be completely emission free through and in house project called 'Stinky Emissions', which is run by Joe Richardson. Part of the plan is to get solar panels for our electricity. Unfortunately the 'Stinky Emissions'project has temporarily been put on hold due to lack of funding, but we are hoping to be able to carry on with it soon!
In terms of the design process, UHC isn't much different from a standard design agency in terms of how we go about the actual creative process or how we deal with clients, as any professional studio worth mentioning takes great care to provide a high quality service to their clients, striving to look after their interests and listening to their needs. We also take into account the materials being used in the production of the work and sometimes adjust the brief or the conceptual solution to get a more environmentally friendly output. There are often practical and financial restrictions that needs to be taken into consideration which means we sometimes can't produce work that is as sustainable as we'd like to, but we always put in the effort and try to be creative with the budgets and the time available and when appropriate we educate our clients about alternative production options or design solutions.
Most design agencies nowadays are very aware of environmentally friendly production methods too (to a varying degrees of course and with varying motivations!) so it's quite common to consider these things which is really good!
What really sets us apart from other design studios is our personal social and environmental engagement (meaning we better understand the objectives of our specific clients), our political awareness and our policy to only work for and support other 'values driven' organisations.
Another major thing that sets us apart from most other agencies is that we always try to ensure our subcontractors are ethically minded, for example we try and work as much as possible with other co-ops and social enterprises and people using ecological production methods.
How important do you think that design is within the promotion of charities/campaigns/social issues, and do you think that it is often overlooked (by charities, campaigners, etc)?
As for anyone, how you present yourself, reach out, connect and communicate with your audience is obviously very important and is no less important for charities and other organisations campaigning for environmental or social change. In our opinion it's even more important as those are the organisations who we think, if anyone, deserves good design and needs to be heard, and it's really important they get presented in a professional way in order for them to be respected and to be taken seriously. This fact can sometimes be overlooked by the people within the organisations themselves as they sometimes don't see the importance of or appreciate visual communicating, but it's something most organisations are getting more and more aware of.
Do you find that this kind of design can be more 'restrictive'; for example, because of lack of funding, sensitivity of issues, etc?
We've only experienced the sensitivity of issues in very few cases, one of which was an animal rights organisation, but I think all types of clients in one way or another has some sensitive issues which has to be taken into account and respected. It can sometimes be more restrictive when working for not-for-profits in terms of lack of funding and our desire to still be able to support them but we see it as an opportunity to be more creative both in terms of the design solutions but also in how we run our business to keep it profitable (please note that being a not-for-profit organisation as we are, ie not being driven primarily by the desire to make money, is not the same thing as wanting to make a loss!).
Would you say that it is sometimes the role of the designer to turn down jobs in this sector if they feel the money would be better spent elsewhere, eg the money spent on a poster design may be more effectively spent on something else? Do you also feel that, as an art group, you are in a good position to not just turn down design work but offer, for example, the organization of a community project instead (if that makes sense...)?
Definitely and this is also something we have done several times, one example being our 'Tiny Traveling Treasury'!
Do you think that designers, in general, have any particular social responsibilities? Do you think that they should be held more accountable than the
rest of the public?
We think designers have a social responsibility as they are the vehicle with which companies and organisations communicates their message to the rest of the world. As citizens of our society we think it's fair that we should all take responsibility for the messages we spread to each other. I don't think however that designers should be held MORE responsible than other people, especially the general public consuming the information or products but also of course the clients commissioning the work, who ultimately are the ones who hold the (most immediate) power.
In a capitalist society, most conventional products are sold to us as commodities with personalities and human qualities, as opposed to 'things' with 'functions' As a lot of the today's 'problems' are the result of Western capitalism/consumerism, do you think that it could be considered unethical/unproductive to promote social issues in the same 'reified' way (as opposed to using facts, figures,logical argument), as it could serve to promote and enforce a consumerist mindset?
In a way yes, but then on the other hand, people connect with things emotionally and visually so why not try and spread a good message using the same means as the 'bad guys'?
What is your opinion on design that exaggerates the ethical or environmental credentials of a company that is, by definition, un-green and unethical (say, an oil company for example)? Would you say that it is 'bad', because it is misleading people; or would you say that it may be a positive thing, because it is focusing consumer choices around certain issues, meaning that the consumer will become increasingly expectant of companies to keep on improving their corporate practice?
It's not for us. Some people may argue that your raise awareness, even if it's a large, un-ethical corporation who's the client trying to 'green' themselves, but we prefer promoting the people who are doing the environmental or social work for the right reasons.
Are there any social issues that you feel are more urgent/important than others, eg. environmental issues / human rights / animal rights / working within the local community / etc?
No issues are more important than any other, the important thing is that you work towards positive change.
Do you feel that working at UHC is personally more satisfying than working in a more commercial art/design studio?
Yes, definitely, it feels very worthwhile even though the social and environmental effects aren't immediately visible. It's very exciting working for something you believe in and is passionate about, even if it's hard work.
I recently did a fairly extensive interview with Sara, from UHC. Here it is:
When and why was UHC set up? What is the rationale behind UHC? Why did you make the decision to be a co-op?
UHC was set up in 2002 by a group of artists and activists wanting to change the world through politically engaged art projects and by providing design services for ethically motivated clients.
The decision to be a Co-op came from an appreciation, as a 'values driven' company, of the Co-operative principles of running a democratically controlled organization where it's the members who benefit from the activities of the business.
How different do you think that UHC is from one that isn't ethically driven, in terms of both the practical running of the studio and the process involved in the actual design?
Many agencies have an environmental policy nowadays and are very conscious of using recycled paper, energy saving light bulbs etc. so compared to some 'normal' agencies, in some areas, we don't vary a great deal in terms of our practical day to day running and our 'green' activities. That said, we feel that we both have a very social awareness in terms of the work we do and why, and when it comes to the little day to day things we probably do more than most standard studios. We are not pedantic perfectionists however and realise that being too strict can also make things very difficult in terms of running a business. That does not
excuse not putting in an effort though and as an environmentally aware studio we do all the usual things like use recycled paper, often use reclaimed furniture to fit out the studio, recycle our waste paper, use energy saving light bulbs where possible, drink fair trade coffee, try and buy organic food, get recycled loo rolls etc etc. In the long run however we want our energy supply to be sustainable as well and want the studio to be completely emission free through and in house project called 'Stinky Emissions', which is run by Joe Richardson. Part of the plan is to get solar panels for our electricity. Unfortunately the 'Stinky Emissions'project has temporarily been put on hold due to lack of funding, but we are hoping to be able to carry on with it soon!
In terms of the design process, UHC isn't much different from a standard design agency in terms of how we go about the actual creative process or how we deal with clients, as any professional studio worth mentioning takes great care to provide a high quality service to their clients, striving to look after their interests and listening to their needs. We also take into account the materials being used in the production of the work and sometimes adjust the brief or the conceptual solution to get a more environmentally friendly output. There are often practical and financial restrictions that needs to be taken into consideration which means we sometimes can't produce work that is as sustainable as we'd like to, but we always put in the effort and try to be creative with the budgets and the time available and when appropriate we educate our clients about alternative production options or design solutions.
Most design agencies nowadays are very aware of environmentally friendly production methods too (to a varying degrees of course and with varying motivations!) so it's quite common to consider these things which is really good!
What really sets us apart from other design studios is our personal social and environmental engagement (meaning we better understand the objectives of our specific clients), our political awareness and our policy to only work for and support other 'values driven' organisations.
Another major thing that sets us apart from most other agencies is that we always try to ensure our subcontractors are ethically minded, for example we try and work as much as possible with other co-ops and social enterprises and people using ecological production methods.
How important do you think that design is within the promotion of charities/campaigns/social issues, and do you think that it is often overlooked (by charities, campaigners, etc)?
As for anyone, how you present yourself, reach out, connect and communicate with your audience is obviously very important and is no less important for charities and other organisations campaigning for environmental or social change. In our opinion it's even more important as those are the organisations who we think, if anyone, deserves good design and needs to be heard, and it's really important they get presented in a professional way in order for them to be respected and to be taken seriously. This fact can sometimes be overlooked by the people within the organisations themselves as they sometimes don't see the importance of or appreciate visual communicating, but it's something most organisations are getting more and more aware of.
Do you find that this kind of design can be more 'restrictive'; for example, because of lack of funding, sensitivity of issues, etc?
We've only experienced the sensitivity of issues in very few cases, one of which was an animal rights organisation, but I think all types of clients in one way or another has some sensitive issues which has to be taken into account and respected. It can sometimes be more restrictive when working for not-for-profits in terms of lack of funding and our desire to still be able to support them but we see it as an opportunity to be more creative both in terms of the design solutions but also in how we run our business to keep it profitable (please note that being a not-for-profit organisation as we are, ie not being driven primarily by the desire to make money, is not the same thing as wanting to make a loss!).
Would you say that it is sometimes the role of the designer to turn down jobs in this sector if they feel the money would be better spent elsewhere, eg the money spent on a poster design may be more effectively spent on something else? Do you also feel that, as an art group, you are in a good position to not just turn down design work but offer, for example, the organization of a community project instead (if that makes sense...)?
Definitely and this is also something we have done several times, one example being our 'Tiny Traveling Treasury'!
Do you think that designers, in general, have any particular social responsibilities? Do you think that they should be held more accountable than the
rest of the public?
We think designers have a social responsibility as they are the vehicle with which companies and organisations communicates their message to the rest of the world. As citizens of our society we think it's fair that we should all take responsibility for the messages we spread to each other. I don't think however that designers should be held MORE responsible than other people, especially the general public consuming the information or products but also of course the clients commissioning the work, who ultimately are the ones who hold the (most immediate) power.
In a capitalist society, most conventional products are sold to us as commodities with personalities and human qualities, as opposed to 'things' with 'functions' As a lot of the today's 'problems' are the result of Western capitalism/consumerism, do you think that it could be considered unethical/unproductive to promote social issues in the same 'reified' way (as opposed to using facts, figures,logical argument), as it could serve to promote and enforce a consumerist mindset?
In a way yes, but then on the other hand, people connect with things emotionally and visually so why not try and spread a good message using the same means as the 'bad guys'?
What is your opinion on design that exaggerates the ethical or environmental credentials of a company that is, by definition, un-green and unethical (say, an oil company for example)? Would you say that it is 'bad', because it is misleading people; or would you say that it may be a positive thing, because it is focusing consumer choices around certain issues, meaning that the consumer will become increasingly expectant of companies to keep on improving their corporate practice?
It's not for us. Some people may argue that your raise awareness, even if it's a large, un-ethical corporation who's the client trying to 'green' themselves, but we prefer promoting the people who are doing the environmental or social work for the right reasons.
Are there any social issues that you feel are more urgent/important than others, eg. environmental issues / human rights / animal rights / working within the local community / etc?
No issues are more important than any other, the important thing is that you work towards positive change.
Do you feel that working at UHC is personally more satisfying than working in a more commercial art/design studio?
Yes, definitely, it feels very worthwhile even though the social and environmental effects aren't immediately visible. It's very exciting working for something you believe in and is passionate about, even if it's hard work.
Thursday, 7 May 2009
Change of layout
Yeah, I think my line lengths were too long. I have decided to make the most of the 4 column grid I have been using, letting the body copy take up 3 columns, leaving the 4th free for notes and quotes (I'm a poet and I didn't even realise).
Sunday, 3 May 2009
Ctrl.Alt.Shift
I downloaded the latest Ctrl.Alt.Shift magazine the other day. This issue is about women's rights.
I think that Christian Aid has hit the nail on the head with Ctrl.Alt.Shift, firstly from a content as there are some really interesting stories and images; and secondly from a branding point of view - some really simple design work that is highly accessible to it's target audience (they also made the right choice by deciding not to make Ctrl.Alt.Shift obviously linked to Christian Aid - don't get me wrong, Christian Aid do some brilliant work, its just the word 'Christian' is a bit of a turn off).
I think that Christian Aid has hit the nail on the head with Ctrl.Alt.Shift, firstly from a content as there are some really interesting stories and images; and secondly from a branding point of view - some really simple design work that is highly accessible to it's target audience (they also made the right choice by deciding not to make Ctrl.Alt.Shift obviously linked to Christian Aid - don't get me wrong, Christian Aid do some brilliant work, its just the word 'Christian' is a bit of a turn off).
Saturday, 2 May 2009
Design Context Presentation
I had to do a design context presentation yesterday morning. I was a little nervous I have a bad habits of talking too much (without making much sense) and running over time. However I ended up blasting through it making it only last a few minutes.
The feedback was really positive - the only criticism being that the body copy of my book is maybe a bit tight.
One idea was to make a dust jacket for my book that would fold out into the timeline. Sounds like it could work pretty well.
Anyways, here is a GIFF of my slides:
The feedback was really positive - the only criticism being that the body copy of my book is maybe a bit tight.
One idea was to make a dust jacket for my book that would fold out into the timeline. Sounds like it could work pretty well.
Anyways, here is a GIFF of my slides:
Thursday, 30 April 2009
Design + Thoughts = Thoughtful Design
I have decided that at the front of the book I want to have a time line showing design, theory, and ethical design - from the industrial revolution to the present day.
It will probably take up 6 or seven double page spreads.
It will probably take up 6 or seven double page spreads.
Wednesday, 22 April 2009
Design context book: Initial layouts
I have started trying to layout the research that I have been finding for Design Context. At the minute its just a jumble of layouts with no real order. When I decide how to catagorise the book, then I can assign a different colour for each section so it doesn't all look like a bumble-bee-building-site.
Thursday, 16 April 2009
John Yates Q&A
I have been emailing John Yates, a designer that grew up in Leeds, but now lives in San Francisco. He has three 'personas' - Stealworks, Planet of the Yates, and We are all Prostitutes.
Stealworks is of particular interest to me, as it is this area - socially aware but commercial design - that I am looking to become involved in. Also, I wanted to read most of the books he has designed covers for, and am the owner of some of the albums that he has designed.
Anyways, here are the questions I asked - I really appreciate the thought gone into the answers.
Can you explain the links between your three websites - Stealworks, We are all Prostitutes and Planet of the Yates - and why you separated your design practice like this?
The sites are treated as individual aspects of my design work. Stealworks is my non-agency work. It is the design work I get to do more or less unrestricted, because I know and have worked with most of the clients for a while and they know what to expect when they ask me to create something for them. We Are All Prostitutes is the work I do while at ad agencies or design shops. It’s more formal, a little more restricted, and it’s somewhat limited in approach, because unlike in Europe, US clients tend to be very conservative. They don’t like to go out on an edge or take risks visually. At least in my experience. Planet of the Yates is my soapbox site. It’s my sociopolitical ramblings. It’s the link back to where I got my start in serious design—political punk rock. It’s a purely personally expressive outlet. The link would be my creative fingerprint. Other than that, they’re pretty much bastard children.
In your personal experience, how does the UK graphic design industry compare to the US design industry?
I only had a couple years of design experience in the UK prior to relocating to the US, so I don’t have much to say in personal terms. However, as someone who observes the design happening around me, it is far more conservative in terms of both content and voice in the US. For example, nudity is never going to fly here. You can pitch it all you want in any context to any client, and no matter how much they might love it, they’re never going to consider it. Religion is another taboo. As is language. It’s the irony of the brash, swaggering image of the US globally. Internally, it’s very prudish.
How important do you think that design is within the promotion of charities/campaigns/social issues, and do you think that it is often overlooked (by charities, campaigners, etc)?
I think it is generally overlooked. The message is usually the driving point, rather than the visual, but I think, from what I have seen in the last couple years, starting to turn around. I think they are realizing that the visual is as important, if not more important, than the message, in terms of getting the message across. Of selling it. I think if they start looking at campaigns as advertising, as selling a product, Americans will react more favorably to it—because it’s what they expect.
How different do you think that your studio is from one that is less ‘ethically’/’socially’ driven, in terms of both the practical running of the studio and the process involved in the actual design?
There is no studio. There is only me. Stealworks is just a name I attach to the design work I do. So, in that sense, I am driven by my own set of values and choices. It’s easy when you have no one else to answer for and no need to compromise. That’s the difference. Of course, the kind of work I do tends to not pay too well and have limited budgets, so that’s a place that another studio might have an advantage.
Do you think that designers, in general, have any particular social responsibilities? Do you think that they should be held more accountable than the rest of the public?
I think it’s a personal choice, as everything else is. I gave up trying to preach to others a long time ago, because at the end of the day people are going to do whatever they want to do anyway. I can only take responsibility for my own work and actions. I do think that designers are no more accountable than consumers are. Sure, as a designer I have designed work to help sell something that’s not particularly necessary (when I work at ad agencies on a full-time basis I don’t have the luxury of declining to work on a certain account—though I have tried, unsuccessfully). But is that any different than the person who buys something that’s not particularly necessary?
In a capitalist society, most conventional products are sold to us as commodities with personalities and human qualities, as opposed to ‘things’ with ‘functions’ As a lot of the today’s ‘problems’ are the result of Western capitalism/consumerism, do you think that it could be considered unethical/unproductive to promote social issues in the same ‘reified’ way (as opposed to using facts, figures, logical argument), as it could serve to promote and enforce a consumerist mindset?
Like it or not we are consumers. That’s what we do. To what level individuals consume is another question, but in general we all consume things. I think we almost need to promote social issues in terms of selling a product, because that’s how we are wired to pay attention. It’s like saying that comedy can better get across a serious point than a political rally, because people prefer to laugh than cry. Facts, figures and, to some degree, logical arguments, are not particularly exciting or interesting. I’d sooner hear my politics delivered with humor rather than anger. I react better to humor and what I hear stays with me longer, because it’s a positive memory—even if the subject is not at all positive—if that makes sense? Why fight something we all are? Why not run with it? I’d sooner people be consuming reactionary ideas than gasoline. Wouldn’t you? However you make that happen is fine with me.
What is your opinion on design that exaggerates the ethical or environmental credentials of a company that is, by definition, un-green and unethical (say, an oil company for example)? Would you say that it is ‘bad’, because it is misleading people; or would you say that it may be a positive thing, because it is focusing consumer choices around certain issues, meaning that the consumer will become increasingly expectant of companies to keep on improving their corporate practise?
In the example you site—oil companies—it’s bullshit, but it can make people think a little bit about it, because as bizarre as it sounds, people will see some massive oil company as being more authoritative than say Greenpeace, because the majority of people, here at least, still see Greenpeace as some nutjobs running around in a boat that’s suspiciously gay sounding. Seriously, it’s all about image perception. So, in those terms, it could be a very small positive thing, but ultimately it’s simply sign of the times pandering for PR purposes. Companies go with the cultural flow and they go where the money is.
Are there any social issues that you feel are more urgent/important than others, eg. environmental issues / human rights / animal rights / working within the local community / etc?
They’re all important, obviously, but the environment would certainly have to top the list, because without this place we call earth we have nothing, right? It’s all we’ve got. When it’s gone, we’re gone. The other issues are all certainly important, and more so to those particularly affected by a certain one, but at the end of the day it’s all for nought if we shit where we live.
Do you find it more personally satisfying working with your clients, that you would working with more commercial/corporate clients?
Yes. Very much so. It’s the reason I continue to work for next to nothing for clients. It’s not a charity, but at the end of the day I feel like I’ve done something positive. It helps reduce the bad karma I get for selling my soul in the corporate world, which is genuinely what I sometimes feel like I am doing. I do my best at personal damage control, but there’s times when it doesn’t sit right, sure.
What are your rationale/goals/intentions as a designer?
I love what I do. I love being creative. I don’t feel like I am alive unless I am doing something that is creative. That sounds very “right on,” but it’s true. My rationale for being a designer is that it keeps me rational. It’s also the only thing I am good at in terms of being able to support myself and being a part of a family. My goals are simply to keep doing what I do for as long as I can function at what I do. To keep learning and expanding my design abilities and opportunities. And to leave something of worth behind—whether that’s a child that loves being creative rather than destructive, or a piece of design that stands the test of time.
I’m not sure. I generally don’t set goals for myself, at least not consciously. And my intentions would be... honorable.
Stealworks is of particular interest to me, as it is this area - socially aware but commercial design - that I am looking to become involved in. Also, I wanted to read most of the books he has designed covers for, and am the owner of some of the albums that he has designed.
Anyways, here are the questions I asked - I really appreciate the thought gone into the answers.
Can you explain the links between your three websites - Stealworks, We are all Prostitutes and Planet of the Yates - and why you separated your design practice like this?
The sites are treated as individual aspects of my design work. Stealworks is my non-agency work. It is the design work I get to do more or less unrestricted, because I know and have worked with most of the clients for a while and they know what to expect when they ask me to create something for them. We Are All Prostitutes is the work I do while at ad agencies or design shops. It’s more formal, a little more restricted, and it’s somewhat limited in approach, because unlike in Europe, US clients tend to be very conservative. They don’t like to go out on an edge or take risks visually. At least in my experience. Planet of the Yates is my soapbox site. It’s my sociopolitical ramblings. It’s the link back to where I got my start in serious design—political punk rock. It’s a purely personally expressive outlet. The link would be my creative fingerprint. Other than that, they’re pretty much bastard children.
In your personal experience, how does the UK graphic design industry compare to the US design industry?
I only had a couple years of design experience in the UK prior to relocating to the US, so I don’t have much to say in personal terms. However, as someone who observes the design happening around me, it is far more conservative in terms of both content and voice in the US. For example, nudity is never going to fly here. You can pitch it all you want in any context to any client, and no matter how much they might love it, they’re never going to consider it. Religion is another taboo. As is language. It’s the irony of the brash, swaggering image of the US globally. Internally, it’s very prudish.
How important do you think that design is within the promotion of charities/campaigns/social issues, and do you think that it is often overlooked (by charities, campaigners, etc)?
I think it is generally overlooked. The message is usually the driving point, rather than the visual, but I think, from what I have seen in the last couple years, starting to turn around. I think they are realizing that the visual is as important, if not more important, than the message, in terms of getting the message across. Of selling it. I think if they start looking at campaigns as advertising, as selling a product, Americans will react more favorably to it—because it’s what they expect.
How different do you think that your studio is from one that is less ‘ethically’/’socially’ driven, in terms of both the practical running of the studio and the process involved in the actual design?
There is no studio. There is only me. Stealworks is just a name I attach to the design work I do. So, in that sense, I am driven by my own set of values and choices. It’s easy when you have no one else to answer for and no need to compromise. That’s the difference. Of course, the kind of work I do tends to not pay too well and have limited budgets, so that’s a place that another studio might have an advantage.
Do you think that designers, in general, have any particular social responsibilities? Do you think that they should be held more accountable than the rest of the public?
I think it’s a personal choice, as everything else is. I gave up trying to preach to others a long time ago, because at the end of the day people are going to do whatever they want to do anyway. I can only take responsibility for my own work and actions. I do think that designers are no more accountable than consumers are. Sure, as a designer I have designed work to help sell something that’s not particularly necessary (when I work at ad agencies on a full-time basis I don’t have the luxury of declining to work on a certain account—though I have tried, unsuccessfully). But is that any different than the person who buys something that’s not particularly necessary?
In a capitalist society, most conventional products are sold to us as commodities with personalities and human qualities, as opposed to ‘things’ with ‘functions’ As a lot of the today’s ‘problems’ are the result of Western capitalism/consumerism, do you think that it could be considered unethical/unproductive to promote social issues in the same ‘reified’ way (as opposed to using facts, figures, logical argument), as it could serve to promote and enforce a consumerist mindset?
Like it or not we are consumers. That’s what we do. To what level individuals consume is another question, but in general we all consume things. I think we almost need to promote social issues in terms of selling a product, because that’s how we are wired to pay attention. It’s like saying that comedy can better get across a serious point than a political rally, because people prefer to laugh than cry. Facts, figures and, to some degree, logical arguments, are not particularly exciting or interesting. I’d sooner hear my politics delivered with humor rather than anger. I react better to humor and what I hear stays with me longer, because it’s a positive memory—even if the subject is not at all positive—if that makes sense? Why fight something we all are? Why not run with it? I’d sooner people be consuming reactionary ideas than gasoline. Wouldn’t you? However you make that happen is fine with me.
What is your opinion on design that exaggerates the ethical or environmental credentials of a company that is, by definition, un-green and unethical (say, an oil company for example)? Would you say that it is ‘bad’, because it is misleading people; or would you say that it may be a positive thing, because it is focusing consumer choices around certain issues, meaning that the consumer will become increasingly expectant of companies to keep on improving their corporate practise?
In the example you site—oil companies—it’s bullshit, but it can make people think a little bit about it, because as bizarre as it sounds, people will see some massive oil company as being more authoritative than say Greenpeace, because the majority of people, here at least, still see Greenpeace as some nutjobs running around in a boat that’s suspiciously gay sounding. Seriously, it’s all about image perception. So, in those terms, it could be a very small positive thing, but ultimately it’s simply sign of the times pandering for PR purposes. Companies go with the cultural flow and they go where the money is.
Are there any social issues that you feel are more urgent/important than others, eg. environmental issues / human rights / animal rights / working within the local community / etc?
They’re all important, obviously, but the environment would certainly have to top the list, because without this place we call earth we have nothing, right? It’s all we’ve got. When it’s gone, we’re gone. The other issues are all certainly important, and more so to those particularly affected by a certain one, but at the end of the day it’s all for nought if we shit where we live.
Do you find it more personally satisfying working with your clients, that you would working with more commercial/corporate clients?
Yes. Very much so. It’s the reason I continue to work for next to nothing for clients. It’s not a charity, but at the end of the day I feel like I’ve done something positive. It helps reduce the bad karma I get for selling my soul in the corporate world, which is genuinely what I sometimes feel like I am doing. I do my best at personal damage control, but there’s times when it doesn’t sit right, sure.
What are your rationale/goals/intentions as a designer?
I love what I do. I love being creative. I don’t feel like I am alive unless I am doing something that is creative. That sounds very “right on,” but it’s true. My rationale for being a designer is that it keeps me rational. It’s also the only thing I am good at in terms of being able to support myself and being a part of a family. My goals are simply to keep doing what I do for as long as I can function at what I do. To keep learning and expanding my design abilities and opportunities. And to leave something of worth behind—whether that’s a child that loves being creative rather than destructive, or a piece of design that stands the test of time.
I’m not sure. I generally don’t set goals for myself, at least not consciously. And my intentions would be... honorable.
Tuesday, 7 April 2009
Design Context quotes
From the book 'Good: An introduction to ethics in graphic design', by Lucienne Roberts.
Saturday, 4 April 2009
Ad Campaigns
I have just been flicking through Guerrilla Advertising and found these (highly relevant) corkers.
By Saatchi & Saatchi , Sydney, for the UN.
By Saatchi & Saatchi , Sydney, for the Pedestrian Council of Australia
By Michael Conrad & Leo Burnett, for Amnesty International
By akestam.holst, for the UNICEF Sweden
By M&C Saatchi, for the Save the Children
By Saatchi & Saatchi , Sydney, for the Pedestrian Council of Australia
By Michael Conrad & Leo Burnett, for Amnesty International
By akestam.holst, for the UNICEF Sweden
An abandoned pram that attracted people to it with the sound of a crying baby. Instead of a baby, the passers-by where met with 'Everyday 136,986 children are born who do not exist' to gather support for a child registration scheme.
By M&C Saatchi, for the Save the Children
Great use of lenticular technology. The lorry was covered, both sides with a lecticular print (it shows different images when looked at from different angles). From one angle it showed packing crates and from another angle it showed an 'x-ray' image of people being trafficked.
By KesselsKramer for Oxfam
Stenciled slogans promoting fair trade are stenciled on shipping containers in visible places (busy ports, etc)
Friday, 3 April 2009
Design Context quotes
These quotes all came from Heller and Viennes 'Citizen Designer'. More coming soon. Promise.
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