resistence is futile essay

8/8/2019 Resistence is Futile Essay

http://slidepdf.com/reader/full/resistence-is-futile-essay 1/35

Reitancei FutileWhy First Things First isStill Coming Second

Eleanor Maclure MA Graphic Design Unit 1.2: Design Discourse



Reitancei Futile

Why First Things First is Still Coming Second



i

Resistence is Futile Eleanor Maclure

Content

List of Illustrations ii

Resistence is Futile 01

References 08

Reerences 09

Further Reading 10

Appendix 11

Documentation o Group Discussion 12



1


First Things First

It is now 10 years since the launch o First Things First

2000, see Figure 2 and a urther thirty- six years since the

original maniesto was written. Yet very little, i anythingseems to have changed and as a community, designers

are still debating issues that are now over orty years old.

Problems, that when taken in to context, have increased

exponentially in scale and complexity over that period. So

why are we still arguing about them and why has nothing

changed?

First Things First (FTF), see Figure 1 divides the design

community, perhaps even more so since it’s re-launch in

2000, than at the time o its original release. However, the

act that it was updated or the millennium and that it is

still being debated and commented on ten years on as

recently illustrated by David Quay on Grak magazine’s

online blog, in a post entitled ‘David Quay Design

Debate?’, demonstrates that the issues and arguments

it raises are still worth discussion and quite clearly

unresolved.

One o the central issues in the maniesto, and possibly the

biggest point o contention, is the type o work you should

put your skills to as a designer, and consequently who you

should work or.

There are those that argue that design is a service,

thereore it is not in a designers remit to promote a

personal ethical agenda in proessional practice. While

this is a valid stance, all visual communication is on somelevel persuasive. “Design is not neutral” (Van Toorn cited

by Credland 2010, lecture) and although not all pieces

o communication are trying to sell something in the way

that advertising does, even a piece o inormation design

such as a signage system is guiding you to do something.

This is the premise that supporters o FTF use to argue that

designers should take more responsibility or the social and

environmental impact o their work. “Designers cannot

avoid discussing the moral issue: they must question the

ends o design to ensure that the work disseminated does

not persuade its public or undesirable ends.” (Ehses 1987)

The message may be rom the client but it is the designer

who makes a series o decisions about how to present that

message, helping to shape it and release it in a tangible

orm into the world. This view supports the belie that

we are citizens as well as designers and that we have a

responsibility as human beings to use our skills or good in

society, or at least not or harm.

Regardless o the arguments in support and dismissal o

FTF, the real concern should lie with the reason that the

issues discussed within it arose in the rst place.

The world in 1964, when FTF was originally written was

very dierent to the world that welcomed in the new

millennium and the re-issuing o the maniesto, updated

to refect modern times, in 2000. Although society has not

altered as dramatically in the last decade, the last ten

years have seen a signicant number o world changing

events including 9/11, the ongoing wars in Iraq and

Aghanistan, global economic crisis and the increasing

threat o climate change. But against the backdrop

o political, economic, ecological and technological

developments, in Western society one thing has remained

airly constant: the rise and rise o consumer capitalism.

Capitalism

Capitalism in its undamental principles is not malevolent

orce. The Oxord English Dictionary denes it as “an

economic and political system in which a country’s trade

and industry are controlled by private owners or prot,

rather than by the state” (OED 2010, online). However

or a capitalist economy to unction properly it musthave constant growth while the opposite o has been

seen in the eects o the recent economic recession.

But to maintain our economic growth, ever increasing

consumption is required, the demand and markets or

which are created, at least in part, by marketing and

advertising. A vast proportion o our visual landscape

and increasingly our interactive/digital/virtual landscape

is dedicated to trying to persuade us to buy more stu,

spend more money, do more things and consume more

services. Not all graphic design is advertising but all

advertising is trying to sell you something.

While this economic behaviour may create jobs or our

ever expanding population it is utterly unsustainable

Reisance iFutile



2


Figure 1 The First Things First Manifesto

Figure 2 First Things First 2000



3


without there being dire consequences or the planet,

its resources, ecological systems and ultimately our own

survival.

A prime example o the unsustainable exploitation oour planet’s resources or our economic growth is our

absolute dependence on oil. Global oil consumption

has been rising steadily since the 1970’s, up until the

recession o 2009 and currently stands at 86.4 million

barrels a day. (Anon 2010a, online). China’s consumption

alone increased by 28% over the course o 2009, despite

the economic downturn. The result o years o increased

demand and production is that we now ace a situation

where experts estimate global oil production will peak

around 2014 (Anon 2010b, online) with supply no longer

meeting demand and then beginning an irreversible

decline. Though there is still an estimated 40 years worth

o oil reserves, globally, new elds are smaller, oten more

inaccessible and require ever more complex methods to

extract the oil.

“All the easy oil and gas in the world has pretty much

been ound. Now comes the harder work in fnding and

producing oil rom more challenging environments and

work areas.”

William J. Cummings, Exxon-Mobil company spokesman,

December 2005.

As a result petrochemical companies like Shell, Exxon and

BP are going to greater and greater lengths to maintain

production and maximise their eorts in exploration to

keep up with global demand and preserve their protmargins. Deep water drilling is no commonplace, the

deepest well drilled being BP’s Tiber well at over 10,000

metres deep in the Gul o Mexico (Anon 2010c, online),

see Figure 6. However this strategy is not without risks

and BP is now acing the “worst environmental disaster”.

(Browner 2010, online) in US history.

Case Study:BP

In 2000 BP made headlines when it unveiled the results o

a major rebrand by Landor Associates, see Figure 4. Prior

to this their longstanding trade mark had been the green

BP shield, the symbol o the company since 1931, see

Figure 3. The radical overhaul at the turn o the millennium

saw BP re-launch itsel as a ‘greener’, more environmentally

riendly company to “win over environmentally aware

consumers” (Anon 2000, online) with a new green and

yellow fower-inspired logo and strapline positioning BP as

‘beyond petroleum’.

To add weight to its new image it invested in renewable

energy, spending $45 million on Solarex Solar Energy

Corporation. However their overall business agenda was

less progressive:

“The days when our business had a captive market

or oil are probably ending. There are new sources o

supply in almost every part o the energy market. Even in

transportation it is likely that advances in the technology

o uel cells will soon give us cars with dierent engines. So

we have to compete to ensure that oil remains a uel o

choice” (Browne cited by Bakan 2004)

A decade on and in stark contrast BP are creating

headline news over its responsibility or the largest oil leak

in history. BP have numerous deep water rigs positioned

in the Gul o Mexico, an area which has proven to be

rich in oil deposits but on the 30th April 2010 methane gas

rom the well escaped on to BP’s Deepwater Horizon rig,

ignited and catastrophically exploded, killing 11 workers

and injuring 17 others. Since then thousands o barrels

o oil having been escaping into the surrounding Gul as

a result o the leak, with estimates varying the amount

rom between 5000 to 100 000 barrels o oil a day (Anon

2010d, online). The current scale o the disaster dwars

the amount o oil split in the Exxon Valdez disaster in 1989,which spill 250,000 barrels (Anon 2010e, online) o oil on to

the coast o Alaska when the tanker ran aground.

Since their rebrand in 2000 BP have spent more money

on marketing their environmental credentials than they

have on their environmentally aimed activities. The Gul

o Mexico oil spill has brutally exposed BP’s complacency

and lack o substance behind their ‘green’ image, which

like all areas o their business which is based on the

principle o maximising prot or their shareholders. As

Henry Waxman, chairman o the Energy and Commerce

committee commented at the recent US Congressional

hearing regarding the oil spill “It appears to me BP

knowingly risked well ailure to save a ew million dollars”.

(Golderberg 2010)



4


beyond petroleum ®

Figure 3 BP Green Shield. Company Logo 1931–2000

Figure 4 BP Rebrand, 2000–Current



5


Figure 5 Map of BP Activity in the Gulf of Mexico

Figure 6 Environmental Destruction cause by the Oil Leak



7


It is or this reason that the First Things First maniestos

will never change anything. “We do not advocate the

abolition o high pressure consumer advertising: this is not

easible” (Garland 1964). All this amounts to is rearranging

the urniture when what we really need is to burn downthe house. For as long as we have an economic system

which puts prot above all else then we will always have

companies who have socially and environmentally

irresponsible products or practices. As a graphic designer

choosing only to work or charities or public bodies may

make some small improvements to the world but ultimately

it won’t change the system.

But i you can nd me a large group o designers willing

to revolt and smash the system then we might be on to

something.



Reference



9


ALDHOUS, P. & MCKENNA, P., (2010) Hey Green Spender. New Scientist. No. 2748 (February 20th 2010) p.6-9

ANON., (2000), BP Goes Green [online] Available at: http://news.bbc.co.uk/1/hi/business/849475.stm [Accessed

22/06/10]

ANON., (2010a), Global oil demand is revised up by 60 kb/d [online] Available at: ht tp://omrpublic.iea.org/

[Accessed 22/06/10].

ANON., (2010b), World Crude Oil Production May Peak a Decade Earlier Than Some Predict [online] Available at: ht tp://

www.sciencedaily.com/releases/2010/03/100310134255.htm [Accessed 22/06/10].

ANON., (2010c) Tiber - Drilling to New Depths {online} Available at: http://www.bp.com/sectiongenericarticle.do?category

Id=9030890&contentId=7056559 [Accessed 22/06/10].

ANON., (2010d) BP oil leak ‘could be dumping 100,000 barrels a day into Gul o Mexico’ [online] Available at: http://www.

metro.co.uk/news/831932-bp-oil-leak-could-be-dumping-100-000-barrels-a-day-into-gul-o-mexico [Accessed 22/06/10].

ANON., (2010e) Exxon Valdez Oil Spill [online] availabel at: http://en.wikipedia.org/wiki/Exxon_Valdez_oil_spill

[Accessed 22/06/10].

BAKAN, J., (2004) The Corporation. London : Constable

BROWNER, C., (2010), Gul o Mexico Oil Leak ‘Worst US Environment Disaster’ [online] Available at: http://news.bbc.

co.uk/1/hi/world/us_and_canada/10194335.stm [Accessed 22/06/10]

CUMMINGS, W. J., (2005) Peak Oil. [online] Available at: http://en.wikipedia.org/wiki/Peak_oil [Accessed 22/06/10].

EHSES, H., (1987) Typographic Writing .

GARLAND, K., (1964) First Things First Maniesto . [online] Available at: http://www.kengarland.co.uk/KG%20published%20

writing/rst%20things%20rst/ [Accessed 27/02/10]

GOLDENBERG, S., (2010) Gul oil spill: ‘I don’t recall’, says BP chie to Congress [online] Available at: http://www.guardian.

co.uk/environment/2010/jun/17/gul-oil -spill -bp-chie- tony-hayward [Accessed 28/02/10].

OED (2010), [online] Available at: http://www.askoxord.com/concise_oed/capitalism?view=uk [Access 22/06/10].

QUAY, D., (2010) David Quay Design Debate? [online] Available at: ht tp://www.grakmag.com/index.

php?m=GR&sub=GRdetail&id=304 [Accessed 28/02/10].

Roberts, L., (2006) Good: An Introduction to Ethics in Graphi Design . Lausanne : AVA Publishing

VAN TOORN. J., (2010) cited by CREDLAND, T., (2010), lecture.

Reference

Bibliography



10


FurtherReadingBIERUT, M. et al, (eds) (2002) Looking Closer 4: Critical Writings on Graphic Design . New York : Allworth Press

BIERUT, M. et al, (eds) (2006) Looking Closer 5: Critical Writings on Graphic Design . New York : Allworth Press

KLEIN, N. (2000) No Logo . London : Flamingo

MONBIOT, G., (2007) Heat . London : Penguin

NARDI, S., (2008) A Designer Moment . [online] Availble at: https://www.adbusters.org/magazine/77/a_designer_moment.

html [Accessed 04/05/10]

ROBERTS, P., (2004) The End o Oil . London : Bloomsbury Publishing

STIGLITZ, J., (2002) Globalisation and its Discontents . London : Penguin

WILLIAMS, J., (ed) (2004) 50 Facts that Should Change the World . Cambridge : Icon Books

Bibliography



Appendix



12


Documentation ofGroup Dicuion

As part o the design discourse element o the LLC P/T MA a discussion group

has been ormed consisting o:

Ben Dunning (me)

Emily Fox

Kemal Gezer

Rebecca Lee

Tom Longmate

Eleanor Maclure

Our rst meeting took place on 10/03/10 in the LCC library. An interesting

debate quickly developed. Our initial plan is to each re-read the design dis-

course bries key articles and then post on this blog a brie outline o a position

or idea that has been inspired by these texts or came out o our ini tial talk

Post

Design

Discourse

Ben

Comment Emily Ok, here’s my comment.

Ian was pretty helpul in my tutorial. He said there are equivalent organisations/

councils/unions: ICOGRADA and AIGI are two, although he said these organ-

isations are usually more concerned with ees than ethics. He thought we

should write our own maniesto. I think this is a great idea. What do you all

think?

Ben FYI

ICOGRADA

AIGA (I think this is what you meant Emily?)

Others I have ound that are linked and or sim ilar are:

design council

Graphic Artist Guild

The Institute o Designers in Ireland

British Design Innovation

It’s a mixed bunch. See what you think.

I will add this comment to my post about a union or proessional body or UKdesigners (or maybe urther aeld?) being my proposal o a topic or us to work

on. Unless we actually think maybe we can agree on the overall topic straight

away and this is it?

Documentation of Group Discussion



13


RebeccaComment Since our rst meeting I have elt the urge submit a post based on a ew areas

o discussion that we had. You can surmise rom this that I am also interested in

this ocus o discussion.

I have identied the ollowing interesting areas o discussion which I shall post

separately; this is more or recap than anything:

1. Responsibility o the Visual Communicator

2. Honesty in Design

3. Amateur Designer

Kemal I really like Emily’s idea o writing our own maniesto. Beore going urther withthis idea or debating other discussion ideas I like to post o a summary o his-

torical context about social responsibility o Graphic Design (Graphic Design

Theory – Princeton Architectural Press edited by Helen Armstrong.)

Thanks or this Kemal, I have a vis ion o us pro jecting our maniesto on LCC’s

beautiul tower one night, and on the other art colleges…

Thought this might interest you all in light o our discussion. I think it’s a load o

Bo£$*cks personally http://news.bbc.co.uk/1/hi/entertainment/8551661.stmc.

How do I put up a new post?

Emily

Post

Logorama

Rebecca Posting o the lm Logorama

Though I didn’t watch it all, it brought to mind the talk by Tony Howard about

the design o the signage or the Dubai underground system. You really could

go to Pepsi station on the Sony line…

Comment Eleanor

Design made by the individual, their right to individual expression but could this

still be considered noise in the visual world. Should training be enorced and

i so…how? There is the danger is that by censoring the employer is no longer

interested in paying or the real designer and so the accountant ends updoing it!.

Could it be that the untrained design eye will l ter choices in an incom-

plete way and so in order to innovate it is rst necessary to know your crat.

Most importantly it seems that the designer is going to spend an increased

amount o time validating their practice against that o the cheaper amateur.

Standards.

We discussed that perhaps every designer has a price by which they would cre-

ate something that contravened their sensabilities. It might also be interesting to

design a model expressing the development/ responsible stages o design. From

client to design brie. Fashion or example runs rom the street to ashion designer

to catwalk to the elite and then back to the street again in another orm. It is one

big loop in ashion, is it the same or graphics, are there controls in that loop or isthe journey o an ideas through to design a less easy journey to map? I this is an

example o how responsibility in design does not lie with one person alone then

how do we take responsibility. Does ignorance mean diminished responsibility?

Post

Amateur

Designer

Rebecca




14


I think with regards to the health o the design industry as a whole the inter netis a double edged sword and there are probably parallels which other creative

industries like music and publishing or which this is also the case. For on the

one hand the internet makes it ar easier to promote yoursel and your work

on a low budget. I think this is especially pertinent or designers who are just

starting out, whether graduates or not and or people who live outside o the

design bubble that is London. It helps level the playing eld so that a student

in Middlesborough can still promote their portoilo online to potential clients

and employers in London the same as a student in Hackney can without the

expense o sending out printed items or train tickets to visit agencies in per-

son. The internet helps to remove some o the disadvantages o location and

budget.

However the ‘democracy’ o the interenet means that it is a lot easier or any-

one to become a ‘designer’. This does have the potential to lower standards

across the industry but whether this will happen to a a very noticeable degree

remains to be seen as there is an awul lot o design talent out there. Whether

or not it takes resources and oppor tunity away rom people who have spent

years training to be designers I don’t know. I think the issue o new design ers

having to work or ree and ree pitching is routed in market economics.

Essential there are too many designers, design is a popular sub ject at degree

level and the number o design courses oered in the UK refects this. A quick

search on the UCAS website reveals 72 courses or Medicine versus 272 courses

or Graphic Design, without including its other incarnations such as ‘Visual

Communication’, ‘Graphic Communication’ etc etc. With the UK university sys-

tem churning out so many new Graphic Designers every year it is

Comment Eleanor

Other issues raised included, ban ree pitching which lowers standards and

sets the president that young designers must work or ree in order to get ahead

and actually when they do get ahead does their value su er as a result o

working or ree. This devaluation process makes me think o the prolieration

in the blogging community and how it lowers the standard and thus takes

resources away ocus the young truely talented proessionals who would other-

wise have support and opportunity. (‘Thinking is Over’ — John Flinto)

I think with regards to the health o the design industry as a whole the inter net

is a double edged sword and there are probably parallels which other creative

industries like music and publishing or which this is also the case. For on the

one hand the internet makes it ar easier to promote yoursel and your work

on a low budget. I think this is especially pertinent or designers who are just

starting out, whether graduates or not and or people who live outside o the

design bubble that is London. It helps level the playing eld so that a student

in Middlesborough can still promote their portoilo online to potential clients

and employers in London the same as a student in Hackney can without theexpense o sending out printed items or train tickets to visit agencies in per-

son. The internet helps to remove some o the disadvantages o location and

budget.

Eleanor




15


However the ‘democracy’ o the interenet means that it is a lot easier or any-

one to become a ‘designer’. This does have the potential to lower standards

across the industry but whether this will happen to a a very noticeable degree

remains to be seen as there is an awul lot o design talent out there. Whether

or not it takes resources and oppor tunity away rom people who have spent

years training to be designers I don’t know. I think the issue o new design ers

having to work or ree and ree pitching is routed in market economics.

Essential there are too many designers, design is a popular sub ject at degree

level and the number o design courses oered in the UK refects this. A quick

search on the UCAS website reveals 72 courses or Medicine versus 272 courses

or Graphic Design, without including its other incarnations such as ‘Visual

Communication’, ‘Graphic Communication’ etc etc. With the UK universitysystem churning out so many new Graphic Designers every year it is unsurpris-

ing that some end up working or ree. Supply is outstripping demand creating

high levels o competition because all new graphic designers need industry

experience and or some the only way to get that is to work or nothing.

However just because that is the way things are it does not mean to say that

it is right or healthy or the industry. Nor is it democratic. Some people simply

cannot aord to live on nothing or have their parents support them especially

i they are taking on placements in London which has such a high cost o living

and rent. Talent may be lost or neglected because a new designer’s nancial

constraints means that they are unable to live on nothing and get the relev-

ant work experience and portolio that is required to succeed in the design

industry.

Design agencies are not charities and paying interns is a business decision

however interns are providing a service even at a very junior level and should

be paid a minimum wage that refects and respects the act they have skills

and are contributing to the work o an agency. Having an industry supported

at the bottom by unpaid interns is not a stable oundation and is not isolated to

design. The claim that there isn’t money to pay interns should be addressed all

the way down the chain by budgeting or interns in agency ees. I this meant

that clients had to pay higher ees or work then they would have to accept

that what they paid was a more accurate refection o the work involved on a

job.

This proposal would only work i all agencies took the steps to implement it else

they would be undercut by ones that didn’t. This is the kind o scen ario whereto have a design ‘union’ or governing body o some sort that dealt with ethics

and rights or designers would be highly benecial.

This is a really important point:

“This proposal would only work i all agencies took the steps to imple ment it else

they would be under cut by ones that didn’t”

However this is something I (we) need to chase up. According to the article

below on the (US based) NO!SPEC website there are legal issues linked to price

xing in a ree market. Unsurprisingly a cartel o designers setting on a minimum

price or their work may in act be illegal. Cer tainly this seems to be the caseor the US but it would be worth nding out what the UK legal position is (i only I

had a union to to help with legal matters…). My opnion is this: Despite the cur-

Comment Ben




16


Actually I agree that perhaps this is the way orward. In the same way that in

recent years environmental issues have had every company ghting to prove

their ‘green credentials’. Maybe there is an approach to creating a campaign

to establish benchmarks and expectations in the market place. The big chal-

lenge presumably would be making the specic challenges o the designer

applicable at every level rom agency to client level and beyond.

RebeccaComment

The idea o having a minimum price or work being illegal does not surprise me.

I have questioned or a long time about whether the ‘ree market’ can create

the best conditions or all sections o an industry and all sections o a society to

fourish.

On a dierent note, even i interns in this country were only paid the national

minimum wage it would be a bet ter situation than now, where it seems that

getting your lunch paid or is considered generous. Surely this would not be

illegal?

Eleanor

Rather orcing the issue by implementing laws couldn’t a code o conduct be

drawn up? Large companies that are sensitive about their reputations could

then sign up and be awarded a gold standard (or something) to show they

treat designers etc. airly. Perhaps not very realistic and a bit hippyish…

Emily

rent legal situation a system or set o rules needs to be established whereby the

market is unable to exploit proessionals and create a race to the bot tom or

their work. Especially or those who are just enter ing it and are most vulnerable

to exploitation.

Post

Honesty of

Images

Rebecca There were a number o threads o discussion in this area that came rom dis-

cussing the idea o the union or a standardised body. We struggled with (and

probably will through this exercise) to identiy the one area that would make

or good ethical standing in design. For Ben this was ‘honesty’. I nd this reallyinteresting as I completely agree in ethical terms, however I cannot see how this

would ever be possible when ‘design’ by its very nature is sub jective and a uni-

versally accepted understanding o images/culture would be needed.

Here are two videos showing a specic example (as discussed) o how decep-

tion occurs in advertising in very blatant ways and in my opinion proves that

honesty can never be anything but a sub jective matter. or the simple act that

not everyone will be aware that the images portrayed are a dishonest repres-

entation o the sub ject and the alse promise made by the manuacturer. It is

interesting to me that i ‘honesty’ is the agreed criteria o moral practice, that

we shall need orge a more detailed mode o operation later on should we

decide to pursue our own maniesto.

Paired with the “homogenisation o design because o advertising”. Design

made by designers or designers. Graphic design is no substitute or goodquality products.

Dove animation or retouching




17


Dove Evolution

Shocking Beore and Ater

Emily mentioned that ads in Marie Claire claim to have a restriction on their

retouching, but that they had no responsible or 3rd party content, or example;

all o the ads within the mag that are highly retouched. This leads onto advert-

ising guidelines, is there a legal obligation to only have a certain percentage o

the magazine as advertising space?

Also o particular interest to me was the recent Citroën Lennon ad. This is an

example o the translation o imagery internationally and our emotional/culture

values. Interesting that the French had enough knowledge o the aces to read

the images enough to get the message and make assumptions, howevermeaning was stronger and thereore out o balanced or the average british

person, who were outraged at the distortion o the image or the sale o an

unrelated product. Toscani comes to mind as using emotionalhere though did

the same except his images did not have socially specic history. His images

too though were arbitrary to the product.

Citroen DS3 Lennon Ad

Is there a need to distinguise between design and advertising? Are they the

same thing?

Comment Eleanor I do think that it is still possible to make a distinction between advertising and

design even though with many pieces o visual communication it isn’t alwaysclear cut. There are still some areas (although an ever decreas ing amount) o

visual communication that aren’t trying to sell you something. Many o these

items have a airly mundane unctional existence or example, instruction

manuals, timetables, orms and public service inormation. I visual commu-

nication was shown as a scale with inorming at one end and persuading at

another these examples would be nearer the inorming end. Although I think

that it is incredibly dicult to nd examples o design that aren’t try ing to guide

the user in some way so they could still be considered persuasive to an extent.

However I think a lot o the areas that weren’t traditionally considered a orm o

advertising now are, as Emily mentioned book covers and also cigarette pack-

aging is the only legal orm o cigarette ‘advertising’ let in this country. So not

all design is advertising whereas a lot o advertising is designed.

Just as the number o areas o visual communication that are utilised asadvertising space is growing there is a growing area o advertising that are not

‘designed’ by designers in the traditional sense. For instance campaigns that

employ word o mouth promotion, viral distribution and social media and ones

that engage the public in creating the adverts or them like Oxo’s ‘The Oxo

Factor’.

I agree with what you say Eleanor. I par ticularly like the idea o a v isual com-

munication continuum with the purely unctional (and possibly rational at one

end) and the persuasive, selling (possibly dubious) work at the other with lots o

shades o grey in between. These shades o grey are, o course, where most o

the design we encounter and work on sits.

I guess we all probably elt the examples given by TDC about their exper ience

in Dubai and the excessive desire o the client to place branding everywhere

Ben




18


It is interesting that Marie Claire have taken the step to ensure none o their mod-

els are retouched; they are obviously aware o the media savvy nature o their

readership. It’s a cunning means o dierentiating themselves rom the competi-

tion, and it will be interesting to see i other publications ollow suit.

It would be interesting to see a DOGME 95 type maniesto applied to a ashion

magazine, all the models in natural lighting, no constructed sets, shot with

hand held cameras, and all other ‘articial’ elements removed rom the con-

struction o the image.

Is there something paradoxical about trying to remove artice rom the ashion

industry, when ar tice is one o its dening themes?

Tom

Yes, at present or me this is the main interest o this whole area o discussion,

that we are trying to nd order and regulation in an industry that relies on a cer-tain degree o deception, or more mildly putting it ‘manipulation’. I think that

Ben’s description o the Continuum is perhaps the best method by which to

measure whether design output is morally neutral.

Rebecca

I have posted a link (I hope it works) to an art icle I ound on Grak Magazine’s

blog which is a recent comment on First Things First 2000, by David Quay, a reg-

ular writer or Grak. Going to show that even 10 years on that it still pro vokes a

reaction. There are also some interesting comments on the article and urther

links including one to an essay written by Michael Bierut which was included in

the book Looking Closer 4.

Post

Comment on

First Things First

Eleanor

Comment Tom I tend to agree with a lot o what David Quaye is say ing in this article. I think

most o us have worked on pro jects that on some level confict with our own

ethical position, however explicit that association may be. For me it’s about

where you draw the line, and about how ar you are happy with com promising

what you believe in in order to make a liv ing / pursue your goals.

A lot o creative agencies work on the principle o having one or two ‘cash

cow’ clients (insurance companies, banks), that provide the nancial stability to

allow them to explore more creative or socially responsible pro jects. You won’t

have to dig too deep to nd evidence o morally dubious practices in most

banks or insurance companies.

For me it’s about having an ‘ideal world’ scenario in mind (i.e. working on cre-ative pro jects or cultural establishments), and trying not to stray too ar rom

your ideological standpoint along the way. But these are personal choices that

we all have to make — the idea o a maniesto or the Design Community as a

whole strikes me as idealistic, impracticable and conusing in its aims.

were pretty shocking and beyond what we would like in our own environment.

Despite this a trend does some to be developing throughout the world and I

wouldn’t rule out seeing it in this country too. Our union or proessional body

might have political aims such as a policy to support measures to avoid these

outcomes. i’m not necessarily saying that i think it should but it’s worth throwing

the thought out there as to whether our organisation should have any stated

objectives outside o a code o conduct spelt out in the maniesto.




19


Maybe the answer is a kind o designers karmic credit system, black mark

today, gold star tomorrow…:)

Comment Rebecca

So ar our group discussion hasn’t been a direct response to the First Things First

maniestos; though we have been covering many o the topics and themes

that they address. With this in mind and in response to Ian Nobles brie com-

ments last Wednesday and Eleanor’s earlier post o the article rom Graphik,

I thought it would be a good idea to collect together some online resources,

such as links to both maniestoes, to help us get a better understanding o their

context, what has already been said about them and who are some o the

protagonists. It is in no way an exhaustive list and I will add to it as and when we

nd urther material.

I we want to tame some o the same debate surrounding the existing manies-

tos with our own proposal then this inormation may be useul.

Ken Garland: Original author o the 1964 maniesto.

1964 Maniesto

The 2000 maniesto in eye magazine + plenty o links to urther reading.

First Things First Revisited By Rick Poynor in Emigre

A response by Michael Beirut to the 2000 maniesto.

A response by Jan Michl to the 2000 maniesto. I have not heard o this man

beore (not necessarily bad thing). He is a proessor at The Oslo School o Archi-

tecture and Design in Norway.

More reaction to First things First 2000.

Post

First Things First

and Context

Ben

I have the book Looking Closer 4 which has a whole section purely o responses

to FTF 2000 with comments rom both sides. I am not aware i all o these essays

are available online so I will bring the book in on Wednesday and i anyone

wants to photocopy anything or there own research then you’re more thanwelcome. They should have copies o it in the library too.

Comment Eleanor

Thinking about ethics and responsibility in design I was interested in the com-

ments Ian breify made at the end o last Wednesday’s seminar about what the

purpose o design is. It was interesting to note the distinction he made between

proession and disicpline. Having looked up briefy about what distinguishes a

proession rom a vocation.

Wikipedia has this to say:

“A proession is a vocation ounded upon specialised educational training, thepurpose o which is to supply disinterested counsel and service to others, or a

direct and de nite compensation, wholly apart rom expectation o other busi-

ness gain”.

Post

Discipline vs

Profession

Eleanor




20


Comment Ben I believe this outcome is ultimately where we are heading: A proposal or the

oundation or a proessional body, or possibly union (or both?). This body

should aim to avoid the ambitious and idealist sentiment o a new maniesto

that would be unenorceable. The First things First documents are clearly very

contentious despite there supremely good intentions (I’m very sympathetic, but

I doubt I’d sign it).

O course a proessional body will have certain aims and ambitions inherent in

it so it will not be without its own controversy. Similarly a union will only be signed

up-to by those who share its ethos. Not appealing to everyone though is not an

argument or not doing it however.

The article then goes on later to talk about proessional bodies:

“Proessions are typically regulated by statute, with the responsibilities o

enorcement delegated to respective proessional bodies, whose unction is

to dene, promote, oversee, support and regulate the aairs o its members.

These bodies are responsible or the licensure o proessionals, and may addi-

tionally set examinations o competence and enorce adherence to an ethical

code o practice. However, they all require that the individual hold at least a rst

proessional degree beore licensure.”

Would it be a good thing i design were to become a proper proession?

My eeling is yes. This does repeat some o the ideas with have discussed previ-ously but I think the distinction between dicipline and proession is a key point.

I design became a proession and thereore had a proessional body, rather

than a union, I think it would lend more credibility and respect to the industry,

help to maintain or raise standards and or clients, create some accountab-

ility. It would also help us address ethical issues, disputes and give support to

designers.

I’m not sure how you would go about this and whether it would work and

it does raise other questions in turn but I think it is a more practical route to

addressing some o the issues relating to the design industry as a whole than

another maniesto.

I knew I’d read about this not long ago. A pro posal has been put orward by

the Chartered Society or Designers to the government to approve a CDes pro-

essional certicate.

I think this would probably be a useul step, not least because we would most

likely qualiy or the certicate once we have our MA. It’s a debate that is hap-

pening in web design too. I know rom my exper ience in this area that jobs can

oten go to ‘my mates brother, he does a bit o web design’, at a reduced rate..

bu then I would say that maybe these jobs aren’t worth taking on in the rst

place, as the client obviously doesn’t place enough value on the work o the

designer.

Apparently they will reach a decision within 3 months, so maybe it’s going tohappen sooner than we anticipated.

A comment on the CR Blog:

“The majority o designers who’ll love this stupid idea will be awul designers.”

Comment Tom




21


Maybe that last comment doesn’t encourage lively debate!

What kind o situations have you all come up against in your past exper ience

that you think membership o a proessional body would help with? We had a

situation in a company where another company had plagiarised one o our

designs, and used it or a website or bench, the clothing company. The advice

we were given was to send a cease and desist let ter, and hopeully that would

be enough. It worked ater a bit o pressure.

I the same thing happened today and an email/phone call ailed to have

any eect, i think raising a stink on twitter would be ar more eective than any

solicitor’s letter.

I’m not sure how I came across it in the course o looking or inormation onDesign Discourse topics but I ound this article on GIll Sans. I recall having

declared my love or this typeace quite loudly in the pub ater our visit to

decode at the V&A. High on switly drunk alcohol and nervous sitting next to

Paul McNeil, I eel I was maybe a little too ree with my praise o this typeace

and the orceulness with which I expressed it. Reading this very interesting

article was a little sobering (no pun intended) and I suddenly eel the urge to

track down some dierent typeaces…

Tom

Post

Self Aware Advertising

Eleanor http://www.youtube.com/watch?v=owGykVbgUE&NR=1

I’m not sure how I came across it in the course o looking or inormation on

Design Discourse topics but I ound this article on GIll Sans. I recall having

declared my love or this typeace quite loudly in the pub ater our visit to

decode at the V&A. High on switly drunk alcohol and nervous sitting next to

Paul McNeil, I eel I was maybe a little too ree with my praise o this typeace

and the orceulness with which I expressed it. Reading this very interesting

article was a little sobering (no pun intended) and I suddenly eel the urge to

track down some dierent typeaces…

Post

What’s Wrong

With Gill Sans

Ben

Comment Eleanor I too stumbled upon that article a ew months back and it kind o burst my Gill

Sans bubble. I also love this typeace, my graphics teacher at school intro-

duced me too it, doing GCSE D&T, it was the rst typeace I was properly amiliar

with and I have had a sot spot or it ever since. Although I have to admit it

does go a bit crazy in extra bold. However you can’t really argue with a lot o

what is said in the article but I do eel that although Johnson Sans maybe a

superior typeace you can’t really use it without work looking like it’s or London

Underground.




22


Post

Political Posters

Ben I elt I was inevitably going to write something about maniestoes, proessional

bodies or a union or my essay as well as these top ics being the main ocus o

the group discussion but I have ortunately(!?) ound another topic I’m inter-

ested in, although I’m still trying to work out exactly what my angle will be.

During our rst group discussion I briefy touched upon political posters and

imagery and the way politics is represented through Graphic Design by

mentioning a series o posters I recalled having seen during coverage o the

autumn Conservative Party conerence. Ater searching the web unsuccess-

ully or sometime to nd them I did what I should have done in the rst place

and visited the Conservative Party ocal website. It elt a bit wrong visiting it and

I had the urge to purge my web history and temporary internet les aterwards,

just in case someone came along and used my computer and notcied whereI had been, but I nally managed to rationalise my visit as a legit imate bit o

research.

What struck me about these posters was that they harked back to polit ical

posters o the past that stood out and worked as great pieces o graphic art

(and propaganda), even i you didn’t necessarily agree with the sentiment.

They appealed to the designer in me.

Another recent article I’ve come across also struck a cord with me about the

relationship between poster design and the illustration o politicians, political

ideas, ideology and idealism. The article poses the question: why are our polit-

ical posters not very good anymore. I agree with the writers position and hope

that in my essay I can expand upon this.

I would love to see more designs like the Barack Obama Hope poster created

by Shepard Fairey and less airbrushed photographs.

The spanish civil war should be a good place to base some o your research.

And you can try out your rhetorical skills on the Tory’s campaign posters here.

Comment Tom

Emily

Eleanor

I think this is really interesting. Could it be that the lack o good design in polit ics

refects a certain apathy in young (designer-type) voters? Perhaps i there was

more o a dierence between the parties, real causes to get your teeth into, we

would have better design? Certainly Obama’s campaign caught the collectiveimagination in a way politics over here (and over there) hasn’t in decades.

I I had seen some o these posters (particularly the ones that are predom-

inantly blue and green) and not known anything about them I would have

probably thought that they were or the Green party! I have always asso ciated

the Conservatives with being, well, conservative and I would extend that view to

their visual representation aswell. I guess what I really mean is that these posters

look too good to be or the Conservatives!




23


I also think that the poster has been designed very well, but I agree that it does

not really represent Conservative party, even though the party has been try-

ing to change their image, but their policy and who they stands have never

changed, so the poster is misguiding people, as Eleanor mentioned above, it is

like more Green Anti Climate camping poster than a conservative party poster.

The history o political propaganda through poster design is very rich, so it is

de nitely well worth to study.

Kemal

Read in the Standard today that they’ve just hired Saatchi because they’re in

such a panic over their shrinking lead…

Comment Emily

Yeah I read that too. There was a couple o pages devoted to it in the ES, mademe think o this post. Alledgedly the brei was to tear chunks out o Gordon

Brown. Seems like they might have given up on the ‘being nice’ angle and

gone back to their usual tactics

Eleanor

I come cross this recently, and I just ound this mani esto has got quite radical

approach against media and advertising industry ( in the mean time Kalle

Lasn is marketing his book through the media he is reerring ). He is enorcing

the idea that we, designers having a powerul proession that can have nasty

societal consequences.

Design Anarchy

Kalle Lasn | 2006

Cultural revolution is our business

We are global network o ar tists, writers, environmentalists, teachers, down-

shiters, air traders, rabble-rousers, shit-disturbers, incorrigibles, and malcon-

tents. We are anarchists, guerrilla tacticians, meme warriors, neo-Luddites,

pranksters, poets, philosophers, and punks. Our aim is to topple exist ing power

structures and change the we live in the twenty-rst century. We will change the

way inormation fows, the way institutions wield power, the way the ood, ash-

ion, car, and culture industries set their agendas.

Above all, we will change the way the interact with the mass media and the

way in which meaning is produced in our society.

Design AnarchyDesign anarchy is madness. Choose it only i you are cer tain the other options

will corrode your soul and give you a bleeding ulcer, only i you know you

are among the chosen ew designers who hold Prometheus’s holy re in your

hands. You will suer or years and live like a stray dog, but you will have the joy

o breaking all the rules, o reely mixing art and politics, o pouring your belies

and convictions into your work. Eventually, i you are really as bril liant as you

think, you will have a crack at pushing the boundaries o blobal culture with

bold new orms and resh ways o being.

Post

Design Anarchy

Kemal




25


In light o what we discussed on Wednesday both in the group meeting and

seminar I wanted to collect together all the things I would like to see in a pro es-sional body or visual communicators. This is very much what I personally would

like to see in a proessional body so not everyone will agree. It is also very much

a drat, not exhaustive and as a proessional body is quite a pragmatic thing to

propose I wanted to be idealistic in what I think its remit and purpose should be.

I am reerring to it as a constitution (very American) or want o a better word

and to avoid calling it a maniesto. There are lots o grey edges to some o the

statements as we discussed as a group but I wanted to make some statements

based on general principles initially.

Starting with the basics I would want the body to:

Be Democratic — open to all visual communicators who can demonstrate their

status as a visual communicator to a level o competency. I think by making

it inclusive not an elitist club would help make it dierent rom the some o the

current organisations we have now. I think it should also be transparent in itsbehaviour and accountable to its members.

Be Not or prot — ideally membership would be ree, and the body could

either have charitable status or be unded publically or by trusts or arts unding.

This may however raise issues o priorities/agendas and interests. Alternatively

membership ees should be minimal and only cover costs. (This would obvi-

ously need looking at in more detail i it were to become a reality)

Create and maintain standards – through its membership selection via a peer

review panel (that are democratically elected?) that demonstrates compet-

ency and technical ability through a number o years o proessional practice

or an accredited course plus proessional practice. I did also think that maybe

there should be a ‘junior’ membership or students, that is not certied, as theywould otherwise miss out on the benets o membership.

Post

Proposal for a Constitution

Eleanor

It seems sel evident to us that the discipline or practice o Graphic Design has

evolved and matured over time and now in 2010 “it needs to grow up”. It may

have messy edges but what job doesn’t; it seems to be true o other proessions

that dene themselves through proessional bod ies. The job types that might all

under the Graphic Design umbrella contribute massively to the economy o this

country and those that buy and use our services should be aware o the what

it is and we shouldn’t be scared o shouting it loudly. Or rom believing ourselves

and all the varieties o practitioners are lotily above these kinds o structures.

We want to include all sub disciplines within the “visual communication con-

tinuum”. It should be an inclusive body: Membership it is suggest should have

two routes — education and an number o years experience and just experi-

ence. Entry would be judged by a small panel o peers who avoid a sub jectivecritical eye and assess that cer tain criteria have been met.

We discussed real lie issues that have aected us that might have been helped

by being able to all back upon the support o an organisation.

Some sort o event to launch our organisation could be staged and then we

might destroy stop the organisation at the same time as we can’t help eeling

that i still doesn’t actually resolve the problems we see.

On the other hand Rebecca suggested that members also wear capes.




26


Promote the understanding and appreciation o the industry and what we do

as designers through:

A regular journal, which would be not just or members but available to buy

publicly and be available in schools as well as universities and colleges.

Becoming a consultant to the government or how visual communication is

taught in schools and what provision is included in the national curriculum or

it. It could even run its own course or primary and secondary teachers about

how to teach design.

An awards scheme, I’m thinking o a graphics equivalent o the Sterling prize. It

would obviously only be respected as much as the body who was awarding it.

Support or students or instance, through a number o bursaries, particularly at

postgraduate level to replace the Arts and Humanities research council ones.

It could also oer talks, seminars and workshops or students although a lot o

places do this already.

A permanent building which could house and showcase a range o exhibi-

tions rom small to high prole exhibitions, this could also incorporate space or

students to use or their end o year shows. It could become the primary place

in the country to showcase visual communication and house a permanent

archive o visual communication.

To produce best practice guidance or a whole range o issues such as access-

ibility in print and on screen, legibility and readability, signage systems, design-

ing or children, adults and old people and partially sighted, blind and dis-abled people. These could exist as working documents that could be updated

to stay up to date with research.

It could also commission visual communication research pro jects and work

with universities and other institutions or these.

Regular program o Continued Proessional Development seminars. Architects

get these why don’t designers. These could include technological, cultural and

industry developments and should also be available through their website to

make them accessible to all members.

To have an annual conerence and generally create an arena or debate and

discourse about design and issues acing the industry through talks, a blog/website/discussion board and their journal.

Be a central resource or design related issues and guidance, or example

Intellectual property, which could include a resource o IP laws and a register

o IP lawyers. It could also address sustainability issues with register o FSC etc

accredited printers and paper manuacturers. This could be done through

their website. It could also have a reerence library in its building and a

bookshop.

A ethics committee, made up o non-designers as well as designers to address

ethical issues in design (?)

To lobby other industries reduce or stop the practice o ree pitching and ree

competitions and maybe produce a set o guidelines or businesses on min-imum payment or pitches




27


As Ben mentioned it could also have a company blacklist o those who persist-

ently don’t pay or pitches, hold ree competitions or don’t respect IP law.

It could lobby/work with the government & other public organisations to get

eective visual communication higher up the agenda in public pro jects and

major public institutions and get designers on board at earlier stages in public

projects.

It could also work at creating a dialogue between the public, government,

business and designers to create better understanding and recognition o

visual communication and or designers, a better understanding o the needs

o their users. Although in practical terms I have not yet worked out how this

would happen.

To try and do something about unpaid internships, this is a dicult area

because it would need support rom both the industry and rom the govern-

ment and recognition and support by businesses o the true cost (in paid work

hours) o design.

Our proessional body would o course need an identity, badges, an iphone

app and maybe capes.

Like I said I’m being a bit idealist.

This list is not exhaustive, so please add to it or disagree with what I have put

orward initially. Many o these things already exist and but it would be good to

have them all in one place.

Hi, I was browsing AIGA website, and I ound out the organization has set up

standards or proessional practice in 1996. I am not sure i they have updated

version but this this is what they have on the website:

A proessional designer adheres to principles o integrity that demonstrate

respect or the proession, or colleagues, or clients, or audiences or con-

sumers, and or society as a whole.

These standards dene the expectations o a proessional designer and repres-

ent the distinction o an AIGA member in the practice o design.

The designer’s responsibility to clients

1.1 A proessional designer shall acquaint himsel or hersel with a client’s busi-ness and design standards and shall act in the client’s best interest within the

limits o proessional responsibility.

1.2 A proessional designer shall not work simultaneously on assignments that

create a confict o interest without agreement o the clients or employers con-

cerned, except in specic cases where it is the convention o a particular trade

or a designer to work at the same time or various competitors.

1.3 A proessional designer shall treat all work in progress prior to the completion

o a pro ject and all knowledge o a client’s intentions, production methods and

business organization as condential and shall not divulge such inormation

in any manner whatsoever without the consent o the client. It is the designer’s

responsibility to ensure that all sta members act accordingly.

1.4 A proessional designer who accepts instructions rom a client or employer

Post

Standards of

Professional

Practice – AIGA

Kemal




28


that involve violation o the designer’s ethical standards should be corrected by

the designer, or the designer should reuse the assignment.

The designer’s responsibility to other designers

2.1 Designers in pursuit o business opportunities should support air and open

competition.

2.2 A proessional designer shall not knowingly accept any proessional assign-

ment on which another designer has been or is working without notiying the

other designer or until he or she is satised that any previous appointments

have been properly terminated and that all materials relevant to the continu-

ation o the pro ject are the clear property o the client.

2.3 A proessional designer must not attempt, directly or indirectly, to supplant or

compete with another designer by means o unethical inducements.

2.4 A proessional designer shall be objective and balanced in criticizing

another designer’s work and shall not denigrate the work or reputation o a

ellow designer.

2.5 A proessional designer shall not accept instructions rom a client that

involve inringement o another person’s property rights without permission, or

consciously act in any manner involving any such inringement.

2.6 A proessional designer working in a country other than his or her own shall

observe the relevant Code o Conduct o the national society concerned.

Fees

3.1 A proessional designer shall work only or a ee, a royalty, salary or other

agreed-upon orm o compensation. A proessional designer shall not retain

any kickbacks, hidden discounts, commission, allowances or payment in kind

rom contractors or suppliers. Clients should be made aware o mark-ups.

3.2 A reasonable handling and administration charge may be added, with the

knowledge and understanding o the client, as a percentage to all reimburs-

able items, billable to a client, that pass through the designer’s account.

3.3 A proessional designer who has a nancial interest in any suppliers who

may benet rom a recommendation made by the designer in the course

o a pro ject will inorm the client or employer o this act in advance o therecommendation.

3.4 A proessional designer who is asked to advise on the selection o designers

or the consultants shall not base such advice in the receipt o payment rom

the designer or consultants recommended.

Publicity

4.1 Any sel-promotion, advertising or publicity must not contain deliberate mis-

statements o competence, experience or proessional capabilities. It must be

air both to clients and other designers.

4.2 A proessional designer may allow a client to use his or her name or the

promotion o work designed or services provided in a manner that is appropri-

ate to the status o the proession.




29


Authorship

5.1 A proessional designer shall not claim sole credit or a design on which

other designers have collaborated.

5.2 When not the sole author o a design, it is incumbent upon a proessional

designer to clearly identiy his or her specic responsibilities or involvement with

the design. Examples o such work may not be used or publicity, display or

portolio samples without clear identication o precise areas o authorship.

The designer’s responsibility to the public

6.1 A proessional designer shall avoid pro jects that will result in harm to the

public.

6.2 A proessional designer shall communicate the truth in all situations and at

all times; his or her work shall not make alse claims nor knowingly misinorm. A

proessional designer shall represent messages in a clear manner in all orms o

communication design and avoid alse, misleading and deceptive promotion.

6.3 A proessional designer shall respect the dignity o all audiences and shall

value individual dierences even as they avoid depicting or stereotyping

people or groups o people in a negative or dehumanizing way. A proessional

designer shall strive to be sensitive to cultural values and belies and engages

in air and balanced communication design that osters and encourages

mutual understanding.

The designer’s responsibility to society and the environment

7.1 A proessional designer, while engaged in the practice or instruction odesign, shall not knowingly do or ail to do anything that constitutes a deliber-

ate or reckless disregard or the health and saety o the communities in which

he or she lives and practices or the privacy o the individuals and businesses

therein. A proessional designer shall take a responsible role in the visual por-

trayal o people, the consumption o natural resources, and the protection o

animals and the environment.

7.2 A proessional designer shall not knowingly accept instructions rom a client

or employer that involve inringement o another person’s or group’s human

rights or property rights without permission o such other person or group, or

consciously act in any manner involving any such inringement.

7.3 A proessional designer shall not knowingly make use o goods or servicesoered by manuacturers, suppliers or contractors that are accompanied by

an obligation that is substantively detrimental to the best interests o his or her

client, society or the environment.

7.4 A proessional designer shall reuse to engage in or countenance discrimin-

ation on the basis o race, sex, age, religion, national origin, sexual orientation

or disability.

7.5 A proessional designer shall strive to understand and support the principles

o ree speech, reedom o assembly, and access to an open marketplace o

ideas and shall act accordingly.




30


Yes I agree it does seem to cover a lot o what we have bee talk ing about, it’s

just a shame I’ve never heard about it beore. This could admittedly be or my

own ignorance and the act that I am not a designer in Amer ica but I get the

impression that this statement is something that is not actively promoted which

is a shame. Has anyone else come across the statement beore? Does the

Chartered Society o Designers or anyone else have a British equivalent o the

statement?

Eleanor

The whole document seems to have even coverage over most o the issues

that we have raised as relevant, however it still seems limited in a couple o

areas.

There seems to be a lack o appreciation or the design process and the

dierent disciplines involved, although I except that this may be impossible

to achieve as it caries or dierent design media industries. ie. The dierence

between ‘above the line’ campaigns and web pro ject could be big in terms o

production.

Having said this 2.5 seems to address that designers do work together and it

is important to acknowledge authorship. Perhaps this could be extended to

include that…

“There should be an adequate hand over o physical work aswell as intentions;

to the next designer in the production chain, in order to maintain the aims and

goals o the pro ject ‘signed o’ by the client. This should include the handing

over o les and materials necessary or the completition o work. However all o

which should be pre-decided between the designer and client in order not to

contravene the rules set out concerning authorship and IP. Also ensuring that

the agreements are morally accepted by the next designer”.

This may have already been covered by section 6, however I wanted to high-

light that some o the worst oenses occur in the conusion o many people

authoring on the same pro ject and each having their own instructions.

My diary says that we are presenting on our rst wednesday back, does any-one know i this is the case and i so do we need to dis cuss how we could

present work to date?

Happy Easter

Comment Rebecca


resistence is futile essay

Documents