DIVERGENCE
Issue 1 March 2017
Letter from the Editor What is typography? Why does it matter? How does it impact our lives? The Merriam-Webster definition of “typography” is: “the work of producing printed pages from written material” or “the style, arrangement, or appearance of printed letters on a page.” How those letters, words, and sentences are styled and arranged affects how they are perceived. Good typography clarifies content, establishes hierarchy, and presents information in a manner that makes it easier to read, and, therefore, to understand. Good typography is good communication: it can start a dialog or advance an idea or make a difference in the world. Typography is also intertwined with our daily lives—we encounter type in everything from the products we buy, the signage around us, the books we read, the news we consume, and the directions we follow. Typography can be beautiful, functional, persuasive, and inviting. It can also fail, especially when there is a disconnect between how the type looks and what the text says. This debut issue of [insert Magazine Name here] examines typography and design viewed through the lens of activism and social justice. Topics range from the recent presidential election to ethics within the design industry to the power of the poster as a means of expression and protest. The content was conceptualized, collected, curated, and created by students in Art 338: Typography II at California Polytechnic State University in San Luis Obispo during winter quarter 2017. The magazine reflects the diverse interests and talents of the students who brought this project to life.
Charmaine Martinez Editor, Instructor and Type Enthusiast
CONTENT
04 01
02 05
03
06
09
10
ETHICS within the Design Ind.
07
11 01 - Designers of Activism 02 - Environmental Activism Dr. Bronner’s Redesign 03 - Interview with Brian Singer 04 - CultureStrike - Design Activism to Impact Immigration 05 - Design Activist Posters 06 - MAGA Hat 07 - Women’s March 08 - Planned Parenthood Mural 09 - Living With Mental Health Activism 10 - Project (RED)
08
11 - The Environment and Animal Rights 12 - Ethics within the Design Industry
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PLANNED Parenthood Mural Pentagram
For over 100 years, Planned Parenthood has fought for reproductive health and rights, championing the idea that women should have the information and care they need to live strong, healthy lives and to manage their own fertility. Pentagram’s Paula Scher and her team have designed a large-scale installation that spotlights the dynamic history of this remarkable organization. The mural remixes graphics from a century of ephemera created by Planned Parenthood, capturing its dedication to care, education and activism. The mural is installed at Planned Parenthood’s new national headquarters in Lower Manhattan. The nonprofit is America’s most trusted provider of reproductive healthcare, with a network of close to 60 affiliates that operate approximately 650 health centers across the country. An estimated one in five American women have chosen Planned Parenthood for healthcare at least once in her life, and the organization is currently powered by nine and a half million activists, supporters and donors nationwide.
Scher and her team worked closely with leadership at Planned Parenthood to develop the installation. The main mural ascends through a three-story staircase at the center of the headquarters. The designers collaborated with the project architect, Juan Matiz of Matiz Architecture and Design, to integrate the graphics in a high-profile location in the offices. The mural was timed to coincide with Planned Parenthood’s centennial in October 2016, and the original project brief asked to highlight the organization’s history, which is necessarily complex. Scher and her team looked at the chronology and observed that the one factor running throughout the narrative was the extraordinary passion of the group’s supporters and activists, who have been truly heroic in their fight to make reproductive healthcare a reality for women.
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The mural is a colorful collage composed of ephemera from a century of various initiatives—a mix of newspaper ads, instructional posters from clinics, protest posters, pins, photos of protests, and other historical material from the Planned Parenthood archive. The installation acknowledges the important role that activism and posters, placards, symbols and other graphics have played in garnering support. Many of the designs were originally created by grassroots activists, and the mural is a tribute to their impact in the movement for reproductive rights. To create the mural, Scher and her designers researched historic images, selecting approximately 30 for the final display. The original images were of varying age and quality, so the team digitized the pieces to assemble the collage. mounted over the surface. Scher used a similar approach to create a celebrated mural at the National Center for Civil and Human Rights in Atlanta. DIVERGENCE | 12
The archival images have been reinterpreted using Planned Parenthood’s own color palette, with the addition of a bright yellow, to help tie the environmental graphics into the organization’s existing brand identity. The graphics are incorporated throughout the headquarters: In addition to the central installation, which is about 30 feet high and rises over three stories, smaller murals have been placed on walls throughout large conference rooms and other meeting spaces. The mural has been welcomed as a colorful focal point and call to activism in the national headquarters. When leaders of Planned Parenthood’s affiliates saw the installation, they started requesting similar designs for their own health centers, and Scher and her team are currently developing a system of supergraphics that can be adapted for various locations.
WOMAN
NS’ MARCH Susan Karlin
City streets around the world (and a ship deck in Antarctica) flowed pink Saturday as an estimated 5 million women and male allies donned rosy pussyhats and marched in a show of solidarity against newly minted President Donald Trump and an administration bent on dialing the clock back on women’s rights. The nonviolent but spirited display not only picked up a gauntlet thrown down by a campaign that won on homophobic, misogynistic, and racist rhetoric, but codified an integral part of resistance: creativity. It’s a strategy employed during 1960s civil rights movement, whose architects coordinated novel clandestine tactics and revealed them at opportune times to throw opponents off guard. While the Women’s Marches organized and publicized in advance, their momentum DIVERGENCE | 16
galvanized individuals into devising their own creative contributions—from whimsical signs, costumes, and T-shirts, to unleashing satirical songs and drawings on social media, to theaters, art shows, and apparel raising money for such advocates as Planned Parenthood, American Civil Liberties Union, and the Southern Poverty Law Center. “Each successive leap in nonviolent progress has built upon the acts that happened before,” Andrew Aydin, who co-wrote the bestselling March trilogy with congressman and civil rights icon John Lewis, told Co.Create last summer. (March sales skyrocketed after Trump insulted Lewis.) “One of the key proponents in the national sit-ins was that there was also a boycott going on of stores that wouldn’t sell to African-Americans. So you took one tactic, you added another, and put it all together to put pressure. So if young
people today creatively used tactics from that movement, and added social media, that’s how they’ll make the next great leap.” The mounting artful protests since election day seemed to take their cue from this approach. For every celebrity statement, like Shia LeBouf’s He Will Not Divide Us livestream and Fiona Apple’s “Tiny Hands” are explosions of individual and grassroots efforts, like the Pussyhat Project, New York’s Nasty Women, and Uprise/Angry Women art show fundraisers, and the anti-Trump banners gracing New York bridges and skies. Some were spontaneous. Within hours of alt-right leader Richard Spencer getting punched on camera, Microsoft engineer and technical evangelist Rachel White offered a T-shirt bearing a video screengrab of the event, with all proceeds going to the ACLU.Some were subtle. A film series
on women directors at the University of Southern California used today’s political backdrop for a timely screening and panel on Triumph of the Will, a famous Hitler propaganda film. Yet others were just artistic outbursts. Disney Imagineer Nikkolas Smith, an NAACP Image Award nominee who received a signed thank-you letter from Barack Obama for an Incredibles-inspired drawing of the former First Family, honored fan requests to continue the theme with Trump, who he reimagined as Incredibles’ villain Syndrome. The political turmoil has proven fertile ground for veteran comic writers and illustrators. Neil Gaiman, Amanda Palmer, David Mack, and Olga Nunes teamed for a video of Leonard Cohen’s Democracy to raise money for PEN America’s quest DIVERGENCE | 17
to defend freedom of expression. Mack also contributed writer portraits for PEN America’s Writers Resist protest. Meanwhile, Bill Sienkiewicz weighed in on social media with emotional farewell portraits of Obama, March illustrator Nate Powell created women’s empowerment signage art based on a concept by his wife and her friends marching in D.C., while political artist Mark Bryan offered a line of anti-Trump posters. Not to mention, an exploding antiTrump craft industry. ART TO MARCH WITH The expression crescendoed with the Women’s Marches.The Missile Dick Chicks, dormant since the George W. Bush administration, resurrected for the New York and Oakland marches. The antiwar protest group began in New York to protest the Afghanistan and Iraq invasions, attended protests dressed as buffoonish war mongers with missile strap-ons and oversized stuffed bras (war chests). Madefire CEO and graphic designer Ben Wolstenholme, crafted a free-use anti-Trump campaign design for the San Francisco DIVERGENCE | 18
march that could be expanded into a line of petitions to run through Trump’s tenure. Artist Shepard Fairey, who gained notoriety for his 2008 Obama “Hope” campaign poster, created the We The People poster series with The Amplifier Foundation, featuring pictures of diverse women. Fairey gave away posters at his Los Angeles studio, and made the images available as free downloads for use around the world. The images were also featured in full-page ads in The Washington Post, USA Today, and New York Times. Thanks to a lone sunny day between days of rain, Los Angeles drew the largest crowd, as a jovial swarm of 750,000 encircled downtown’s Pershing Square and City Hall. There were also offshoot marches in Beverly Hills and Pasadena. Costumed participants waving handmade signs posed for photographs, drummed, sang, and chanted, “We must fight, we must fight! This is what democracy looks like!” and “Love trumps hate!” At City Hall, celebrities, activists, and politicians spoke throughout the day, while entire blocks of protesters, tired of standing still, split off into impromptu marches around the area. Among the participants was Dani Paquin, a
singer/songwriter and jewelry maker, who created the Safe Tee line of decorative safety pins—a symbol promoting a safe community regardless of gender, sexuality, race, disability, or religion—to wear at and beyond the marches, that donates half of its proceeds to Planned Parenthood, ACLU, or the SPLC. Another brought a sobering but hopeful message with her artform. L.A.-based Italian filmmaker Vanessa Crocini shot footage of its Post-Election (below) and Women’s marches as first steps in chronicling Trump’s impact on social issues from her viewpoint as an immigrant and woman. “This is such a historical moment,” she said. “This past election has been a very heavy cookie to digest and the mourning process is still hard. I wanted to feel like I belonged to this country, even if I am not a citizen, and make other people feel like we are all in this together. I wanted to capture history and I thought putting together the footage from the [Post-Election] protest would have helped me to process my feelings, my rage, my despair, to rethink my American dream.” The reactions she got after posting it on Facebook “made me think that I do have a voice in this country,” Crocini added. “Now, I want to interview women and capture our different voices and make a short piece that can stir up more awareness and grow our sense of responsibility. I want the Women’s March to be the beginning of an important story. A story of resilience, a story of resistance.”Thanks to a lone sunny day between days of rain, Los Angeles drew the largest crowd, as a jovial swarm of 750,000 encircled downtown’s Pershing Square and City Hall. There were also offshoot marches in Beverly Hills and Pasadena. Costumed participants waving handmade signs posed
for photographs, drummed, sang, and chanted, “We must fight, we must fight! This is what democracy looks like!” and “Love trumps hate!” At City Hall, celebrities, activists, and politicians spoke throughout the day, while entire blocks of protesters, tired of standing still, split off into impromptu marches around the area. Among the participants was Dani Paquin, a singer/songwriter and jewelry maker, who created the Safe Tee line of decorative safety pins—a symbol promoting a safe community regardless of gender, sexuality, race, disability, or religion—to wear at and beyond the marches, that donates half of its proceeds to Planned Parenthood, ACLU, or the SPLC. Another brought a sobering but hopeful message with her artform. L.A.-based Italian filmmaker Vanessa Crocini shot footage of its Post-Election (below) and Women’s marches as first steps in chronicling Trump’s impact on social issues from her viewpoint as an immigrant and woman. “This is such a historical moment,” she said. “This past election has been a very heavy cookie to digest and the mourning process is still hard. I wanted to feel like I belonged to this country, even if I am not a citizen, and make other people feel like we are all in this together. I wanted to capture history and I thought putting together the footage from the [Post-Election] protest would have helped me to process my feelings, my rage, my despair, to rethink my American dream.” The reactions she got after posting it on Facebook “made me think that I do have a voice in this country,” Crocini added. “Now, I want to interview women and capture our different voices and make a short piece that can stir up more awareness and grow our sense of responsibility. I want the Women’s March to be the beginning of an important story. A story of resilience, a story of resistance.” DIVERGENCE | 21
The WORST DESIGN Of 2016 Was Also The Most
EFFECTIVE? Diana Budds
Trump’s ubiquitous bright red trucker hat, festooned with “Make America Great Again,” is now seared into our collective memory. It was the most hated and most loved symbol of the election, the most comical and the most serious. It was a poorly designed product that turned out to be very strong branding. It was the most misunderstood design of the election—for designers and non-designers alike. Trump’s slogan itself traces its roots to Ronald Regan’s 1980 presidential bid when he ran on a slogan of “Make America Great Again.” Trump applied for a trademark of the slogan in 2012, and it became a registered service mark on July 14, 2015. He first wore the hat during a press conference in Laredo, Texas, just nine days later. There’s still some mystery surrounding the hat’s genesis. We don’t know who designed it, though we do know where it’s made: In the Southern California factory of CaliFame Hats. (The Trump campaign and Cali-Frame Hats did not respond to requests for comment on who was behind the design.) It’s a basic product. More likely than not, someone picked red since it’s the color for the Republican party, and basic Times New Roman lettering in white so it would stand out against the cap.
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The “undesigned” hat represented this everyman sensibility, while Hillary’s high-design branding— which was disciplined, systematic, and wellexecuted—embodied the establishment narrative that Trump railed against and that Middle America felt had failed them. “The DIY nature of the hat embodies the wares of a ‘self-made man’ and intentionally distances itself from wellestablished and unassailable high-design brand systems of Hillary and Obama,” says Forest Young, head of design in the San Francisco office of Wolff Olins. “Tasteful design becomes suspect . . . The trucker cap is as American as apple pie and baseball.”
The 2016 campaign revealed limitations of what “good design” can achieve as a communication tool in a political context. “Good design has an elitist bias, particularly because good design is expensive,” Ballant says. The role of designers in a political context when capital-d Design is so suspect is no less important, but it will take some retooling. The 2016 election probably wasn’t won or lost on a hat or a branding system, but the hat serves as a powerful proxy for how blindsided many were by the forces that led to Trump becoming president-elect. It’s an allegory about how to interpret symbols, how to deploy design, and why visual fluency is crucial for everyone— not just designers—as we process, regroup, and strategize for the next round of elections.
“This campaign was not won or lost on good design—at least not the kind of design most people are interested in talking about”
So what exactly is the hat? A stroke of calculated genius or pure dumb luck? There’s no cut-and-dry answer. But it raises the question of how much designerati-approved “good” design really matters in an election.”His people understand clean and sophisticated branding; they just chose not to use it for his campaign” Young says.“This campaign was not won or lost on good design—at least not the kind of design most people are interested in talking about,” says Matt Ipcar, executive creative director at Blue State Digital and a design leader for both Obama campaigns. Referring to the debates designers usually like to have about typography, composition, and color theory, he adds: “We could just as easily be talking about how the Trump hat was an abject failure and how the Pentagram-designed Hillary logo was perfect.”
“This campaign was not won or lost on good design—at least not the kind of design most people are interested in talking about,” says Matt Ipcar, executive creative director at Blue State Digital and a design leader for both Obama campaigns. Referring to the debates designers usually like to have about typography, composition, and color theory, he adds: “We could just as easily be talking about how the Trump hat was an abject failure and how the Pentagram-designed Hillary logo was perfect.”
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The 2016 campaign revealed limitations of what “good design” can achieve as a communication tool in a political context. “Good design has an elitist bias, particularly because good design is expensive,” Ballant says. The role of designers in a political context when capital-d Design is so suspect is no less important, but it will take some retooling. The 2016 election probably wasn’t won or lost on a hat or a branding system, but the hat serves as a powerful proxy for how blindsided many were by the forces that led to Trump becoming president-elect. It’s an allegory about how to interpret symbols, how to deploy design, and why visual fluency is crucial for everyone—not just designers—as we process, regroup, and strategize for the next round of elections.
BRIAN SINGER Not Just ANY Guy, but SOME Guy.
Brian Singer has been employed by some of the most progressive design thinking companies in modern times including Apple, Facebook, and Pinterest. Most designers would cut off their right arm to work for these companies, but Singer— although grateful for the experience— walked away from his most recent gig at Pinterest to pursue personal projects. Singer, aka someguy, has become widely lauded for his pet projects which have netted national publicity, not only in the design community, but among mainstream media outlets such as The New York Times, the Today Show, CBS News, Huffington Post, and more. From inviting strangers to collaborate and share their sentiments in a blank journal and pass it on for the 1000 Journals Project, to exposing people who are driving and texting by placing their photos on billboards, to his #pileoftrump campaign, Singer has created controversy and discussion about what is and isn’t tolerable—or with the case of texting and driving—what is safe. (bio photo: Skyler Vander Molen.) His main goal with most of his projects is to connect with strangers and to have strangers connecting with each other. Here, we ask him about his experiences, his personal projects, and what’s next.
You’ve worked for some high profile, design-driven companies. What’s the biggest takeaway from those experiences?
You do a lot of pop-up/controversial projects…. How do you make a living doing this?
Every company (design driven or not) has real, challenging, business problems to solve. And no matter the company, I think it’s safe to say that design isn’t easy. Probably the biggest takeaway is that while design skill is important, it’s not the only thing needed to succeed and have an impact. You need strategic thinking skills, empathy, holistic problem-solving, leadership, great communication, the ability to hire and motivate talent, and of course, you can’t be an asshole. You know, all the things they don’t teach in design school
Uh, I don’t. The same way all the best tasting foods are bad for you, there’s no money to be made with what I do. I have fantasies of finding a patron, or financial support for my endeavors, but until then, I’m just going to keep doing things I believe in.Everything is a trade-off, and most of my ideas don’t have commercial value.
You recently left Pinterest to pursue your side projects full time. Are you crazy? Why? Yes to the first question. As to the second … see the first. Pinterest was probably the best job I’ve ever had, and I’m really lucky and appreciative to have worked there. Over the last decade though, I’ve spent more and more time focused on art and side projects. About a year and a half ago, I got a studio to work in. I began spending my evenings and weekends there, and eventually realized that’s where I wanted to be all the time. It comes down to the choices we make with how we spend our time and money. I say this now, but check back in with me in a year because who knows, maybe I’ll be off on some other tangential pursuit.
You’ve worked for some high profile, design-driven companies. What’s the biggest takeaway from those experiences? Every company (design driven or not) has real, challenging, business problems to solve. And no matter the company, I think it’s safe to say that design isn’t easy. Probably the biggest takeaway is that while design skill is important, it’s not the only thing needed to succeed and have an impact. You need strategic thinking skills, empathy, holistic problem-solving, leadership, great communication, the ability to hire and motivate talent, and of course, you can’t be an asshole. You know, all the things they don’t teach in design school So, if you don’t make money with these projects, how are you going to keep the lights on? Seems like that would require a plan, which I don’t have. I’ve saved up for long enough to give me some time to figure it out, but other than that, who knows? I tend to be a planner, and very methodic in my decision making. It feels good to jump without looking. Scary, but good. I know I can always get work to pay the bills, but for now, that’s not a priority.
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What project has brought you the most joy/ fulfillment and why? This was the last question I chose to answer, which means it was the most difficult. Not because it’s too hard to pick, but I think it’s because I don’t necessarily associate personal joy/fulfillment with many of my projects. Not sure why, but that’s probably for a therapist to figure out. I’d say that the project that was the most fulfilling was the journal project with UCSF Benioff Children’s Hospital. Seeing the journals have a real and positive impact on kids dealing with such difficult and scary situations melted my heart. It was an emotional roller coaster. At the same time, it’s one of those things where I feel a bit of guilt for not doing more. I tried to get more journals projects to happen at more hospitals.
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It worked for a few, but not many. The hill was too high to climb, and eventually I let it fall to the wayside. How do you get the funding to do a project like TWIT Spotting? Did you pay for all the billboard ads yourself? Did any of those people come after you for exposing them for texting while driving? Going corporate opened my eyes to a few things. One of them was bonuses. When that time of year came around, I’d overhear people taking about what they were going to do with their bonus checks.. a trip, buy themselves something nice, etc.. Me, I bought billboards. That’s the funding. I paid for everything myself because I couldn’t find anyone else to pay for it.
I think the government spent $8 million on their distracted driving awareness campaign that year. In the end, my approach received more news coverage and caused more discussion on the issue.
I don’t think I’ve really gotten into trouble. I’ve had people get angry at me, lots of them, but no one’s ever come after me or anything. Maybe I’m not taking enough risks.
I was hoping for someone like a phone maker, or car company, or insurance company to help me blow the project out and really make a dent in the problem, but no such luck. Can you imagine what I could have done with that $8M?
Do peoples’ behaviors still surprise you?
As for people coming after me, no. However, I did get plenty of angry comments/emails, and even a few death threats. What is the most trouble you’ve ever gotten into for one of your projects?
That’s a pretty wide open question. A lot of people I know are looking around, bewildered at the fact that Trump is a viable presidential candidate, given everything he’s said and done. And it made me surprised that people are surprised (oh, I’m surprised too). But it sort of goes to show that we all surround ourselves with like-minded people, and live in our little bubbles, and are then surprised when millions of people think a different way. We’d probably all be a lot better off if everyone in the country was picked up,
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shuffled, and dropped randomly into a new community. It’d suck for a while, but in the long run, it might be the only way to save us. And… that didn’t really answer your question. Yes, people’s behaviors surprise me. All the time. It’s mind-boggling. But, it probably shouldn’t be. Has there been a project you’ve wanted to do, but thought it might be too risky, or does that not even enter your mind? Well, I’ve had no problem cutting up the Bible, but have clearly stayed away from certain other religious texts. So there’s that. I’d like to do more public art, but have hesitated due to the legality of it (and none of my projects are going to get a grant or be approved by a committee somewhere). All in all though, most of my projects are limited by resources, not risk. What is the one piece of advice you’d give to a young designer? Reassess who your heroes are.
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What are you working on now? I’ve always got like eight projects in motion. I’m working on a series of pieces around assassinations (so, JFK, Malcolm X, John Lennon, etc.) and the guns used to kill them. These are all using books about said political figure, and a process which is kind of hard to explain, involves cutting up the books and assembling the image of the gun using the edges of the paper. I’ve also been cutting up books with red/green edges, and sorting that paper into gradations. They’re really quite beautiful. And, I’ve been dropping books around San Francisco, in the hopes people pick them up and read them (and contact me). It’s a novel way to connect people, I think.
Saltwater Brew Creates Edible Six-Pack Rings Heather Galanty
The devastating effects that plastic six-pack rings can have to both wildlife and the environment have been proven time and time again. While many iterations of the packaging have been seen over the years, here’s a look at a very creative and sustainable alternative to the standard six-pack ring. Saltwater Brewery in Delray Beach, Fla., recently released edible six-pack rings, a brand-new approach to sustainable beer packaging. These six-pack rings are 100 percent biodegradable and edible—constructed of barley and wheat ribbons from the brewing process. This packaging can actually be safely eaten by animals that may come into contact with the refuse. Head of Brand at Saltwater Brewery Peter Agardy says, “It’s a big investment for a small brewery created by fisherman, surfers and people that love the sea.” Brewery President Chris Gove notes, “We hope to influence the big guys and hopefully inspire them to get on board.”
wery e s
LIVING WITH Dani Balenson Living With: is a project dedicated to empowering anyone dealing with mental health to be confident in themselves and their approach to handling daily obstacles. It started as a college thesis and it’s grown to become a nationwide social endeavor that sparks new conversations and new perceptions about mental health. Living With: is the degree-project-turned-real-project of Dani Balenson, a recent graduate of the Rhode Island School of Design and designer working in Brooklyn, New York. Each shirt in the initial Living With: collection has a design that was developed based on the common behavioral patterns of a specific mental disorder. While a single disorder can have a very broad range of characteristics and affects each person differently, there are core behavioral patterns that persons living with each disorder experience. The meaning behind each design in this series can be broken down to color, module, and pattern.
Pattern Study: Depression
Pattern Study: Bipolar Disorder
The depression shirt’s color palette is
The color palette for this design is
made up of subdued monochromatic
comprised of violet and bright blue,
purples, with the deep violet being
which represent the high and the low
visually heavier than the red-violet. The
poles that a person living with Bipolar
module is designed to convey a sense
Disorder cycles between. The shapes
of internal weight pulling down while
within the module visualize the shift
remaining vertical as a whole shape, to
between high and low mood states,
signify a sense for longing for uplifting
known as the drop. Individuals living with
happiness. As a whole, the pattern also
bipolar disorder often describe the drop
reinforces the feeling of being weighed
as the hardest part and not being able
down, while also portraying a layer
to fully enjoy the high points because of
between the inner self and the public self.
the expected low on the horizon. The depression pattern is referenced by the shape of the low, to create a language for the designs as a series. As a whole, the pattern consists of multiple modules arranged to create tension between the up and the down, while ultimately remaining a single shape.
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Pattern Study: ADHD
Pattern Study: OCD
The color combo for ADHD is made up
The color combo for OCD is comprised
of green hues. As a symbolic color for
of multiple yellow hues because of
creativity and growth, green correlates
the color’s connotations of stress and
to the fact that ADHD is often (but not
alertness. The arrangement of shapes
always) diagnosed at a younger age.
in the module represents the systematic
Both hues are bright, as the disorder also
anxiety that triggers compulsions and
results in an energetic and hyperactive
how it shadows an OCD individual at
persona. The module represents an
all times. As a whole, the pattern has a
ADHD person’s distracted train of thought
rigidity and exactness that reflects the
and the tendency to bounce around
intentionality of the ritualistic actions
from one thing to another. It is a visual
performed by an individual living with
deviation in thought and action: the color
OCD.
shifts, the size changes, and the bigger circle is left unfinished. The pattern is a slightly skewed repetition of the module, which creates the bigger picture of an energized, unfocused, and lively mass.
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Why the Activist
Poster is Here to STAY Dani Balenson
As a supposedly antiquated form of media,
Now I’m not so sure. Digital networks are
the poster is regularly pronounced to be on
infusing posters produced to contest an
its last legs as a means of communication
outrage or support a cause with a new lease
and of marginal relevance now. I have
of life. This kind of message has two places
written pieces myself saying much the same
to attract attention now — out in the world
thing. No one doubts that posters used to
and online — and the poster-making urge is
be highly effective as both advertising and
benefiting from the same viral meme effect
propaganda, but from the moment people
seen across our entire hyper-connected
in wealthy economies started buying TVs
culture. Anything that happens is immediately
and watching commercials, the role of the
captured on camera and uploaded, and the
street poster began to decline (the billboards
effect of showing these images so widely and
still flourishing like an infestation at the
easily is to inspire viewers who like what they
roadside are another matter). The arrival of
see to do more of the same. Participation acts
digital communication and then social media
like an injectable hormone spurring yet more
appeared to leave the poster spluttering
growth. Since the global Occupy protests,
for life, and when it came to the protest
there seem to be more posters, or poster-like
poster, the prognosis looked just as gloomy.
messages, used in demonstrations than ever.
If ordinary posters aren’t much needed now, why should posters expressing dissenting views fare any better? Five or six years ago, I would have said the poster advocating a cause was barely viable.
Protest posters have never been an
Japanese earthquake tsunami and the nuclear
exclusively or even primarily professional
disaster at Fukushima. In the past few years,
design activity. Anyone with an urgent point
passionately concerned poster-makers have
to make and a measure of artistic knowhow
given their support to innumerable urgent
could get out the scissors and take up a
causes, from migrant workers, Guantanamo
brush. This is even more the case today
Bay, Palestine, women’s rights, child labor,
with the graphic placards often described
and landmines to water wastage, nuclear
as “protest signs” rather than posters. After
power, the protection of wild life, urban farm
protests, it has become common to see online
gardens, and the plight of WikiLeaker Bradley
news media running visual stories with titles
Manning.
such as “The 50 most enjoyably effective protest signs at Occupy protests.” Websites
As graphic communication, the most salient
offer school children advice on “How to make
characteristic of these recent posters is often
a protest sign for a school project” and put
a surprising politeness and restraint. Twenty
across their legitimate point of view. Radical
years ago, a volume of protest posters
poster-making almost seems to be becoming
produced during the presidencies of Ronald
a badge of good citizenship.
Reagan and the first George Bush earned the title Angry Graphics, and the graphic styles
These DIY protest signs might be amateur
of the work — awkward, angular, discordant
(though that doesn’t stop them working
and ugly — smashed home the righteous
as communication) but they remind us
fury. Contemporary posters might be fired
that posters remain a succinct, popular
by angry convictions that iniquity or injustice
and powerfully immediate form of public
should not be allowed to continue, and that
speech. If someone feels strongly about an
change must happen soon, yet the images
issue, it’s natural to try to express support or
are often decorously barbed rather than
condemnation as persuasively as possible,
manifestly disturbed. They display bright
and in public settings a well-crafted slogan
colors, serene flat surfaces, well-resolved
or image is still hard to beat. The posters
forms, an ideal of graphic reduction, and a
come from a seemingly irrepressible urge to
very contemporary polish, if not perfection,
broadcast a firmly held opinion using graphic
that tells of their origins on a computer screen
resources, and they address a wide of array of
rather than inky paper taped to a grimy
issues, many of which have been, or remain,
drawing board. At its most considered, this
at the center of attention: global warming,
fastidious graphic minimalism can be highly
Occupy, the BP oil spill in the Gulf of Mexico,
effective. The foetally clenched form of the
the earthquake in Haiti, Hurricane Katrina, the
dreaming child in Marlena Buczek Smith’s
DIVERGENCE | 45
Haiti poster works by invoking distressing
At the same time, we should be realistic
images of emaciated and vulnerable children
about the part that posters might still have
familiar from countless news photographs. In
to play. There is a tendency sometimes to
Antonio Castro’s equally honed and incisive
judge expressions of protest and advocacy,
migrant workers poster, the spade’s shaft
including posters, by ridiculously overblown
becomes a painfully exposed spine distorted
yardsticks. “Has anything changed?” demand
by the demands of crushing physical labor.
the skeptics. “Because if it hasn’t, then the gesture was a failure, and making posters was
The tasteful understatement of many recent
misdirected energy and a waste of time.” The
posters, their reluctance to shout, perhaps
claim that in an age of social media posters
reflects a deeply ingrained feeling that
have become redundant simply doesn’t
emphatic displays are no longer acceptable
square with the continuing enthusiasm with
— that they run the risk of appearing shrill
which they are made and put to use. The
and dogmatic. This inhibition, born of years
poster is clearly just one of many creative,
of affluence and complacency, when only a
intellectual and organizational tools in the
minority felt the urge to protest, has lessened
struggle to shape public opinion and exert
since the global financial crisis began in
pressure on policy-makers grasping the
2007. The homemade protest signs show
levers of power that might some day lead to
a new public willingness to speak out with
change. Whether held aloft in the hand at
vigor and wit. To find uses on the street,
demonstrations, pasted defiantly on a wall,
where the mood is increasingly frustrated,
or circulated online by true believers, the
as governments seem either reluctant or
graphic message’s modest but necessary role
powerless to act, professionally produced
is to attract attention, encapsulate a burning
posters need to avoid any sense that they are
issue, exhort, inspire and reaffirm. Despite
aesthetic parlor games detached from the
regular predictions of its imminent demise,
struggle. There are some marked differences
the committed poster shows every indication
between work produced for private
of living to fight on.
satisfaction or for sale as a screen print, which
of the work — awkward, angular, discordant
can sometimes be overworked and effete, and
and ugly — smashed home the righteous
work produced with the crowd, the streets
fury. Contemporary posters might be fired
and the urgency of direct action in mind. It’s
by angry convictions that iniquity or injustice
understandable that graphic artists want to
should not be allowed to continue, and that
devise the best possible image they can, but
change must happen soon, yet the images
a persuasive, easily graspable representation
are often decorously barbed rather than
of the cause often has more utility.
manifestly disturbed. They display bright
DIVERGENCE | 46
colors, serene flat surfaces, wellresolved forms, an ideal of graphic reduction, and a very contemporary polish, if not perfection, that tells of their origins on a computer screen rather than inky paper taped to a grimy drawing board. At its most considered, this fastidious graphic minimalism can be highly effective. The foetally clenched form of the dreaming child in Marlena Buczek Smith’s Haiti poster works by invoking distressing images of emaciated and vulnerable children familiar from countless news photographs. In Antonio Castro’s equally honed and incisive migrant workers poster, the spade’s shaft becomes a painfully exposed spine distorted by the demands of crushing physical labor.
DIVERGENCE | 47
At the same time, we should be realistic about the part that posters might still have to play. There is a tendency sometimes to judge expressions of protest and advocacy, including posters, by ridiculously overblown yardsticks. “Has anything changed?” demand the skeptics. “Because if it hasn’t, then the gesture was a failure, and making posters was misdirected energy and a waste of time.” The claim that in an age of social media posters have become redundant simply doesn’t square with the continuing enthusiasm with which they are made and put to use. The poster is clearly just one of many creative, intellectual and organizational tools in the struggle to shape public opinion and exert pressure on policymakers grasping the levers of power that might some day lead to change. Whether held aloft in the hand at demonstrations, pasted defiantly on a wall, or circulated online by true believers, the graphic message’s modest but necessary role is to attract attention, encapsulate a burning issue, exhort, inspire and reaffirm. Despite regular predictions of its imminent demise, the committed poster shows every indication of living to fight on.
DIVERGENCE | 48
WOMEN’S RIGHTS throughout the Ages Posters have been used to advocate rights for many people over the years, women have used design to fight for their rights. Strong imagery and message are apparent in all these posters illustrating different topics and movements such as the woman’s suffrage to fighting stereotypes.
Coming in with the Tide Date: ca. 1907-1918 Woman Suffrage Posters
She. It is time I got out of this place. Where Shall I Find The Key? Convicts Lunatics and Women! Have no vote for Parliament ca. 1907-1918 Pro-women’s suffrage poster
Duncan Grant winner of the ASL 1909 competition Woman Suffrage Posters
See Red Women’s Workshop Feminist Poster 1977 By former See Red members
Originally for American wartime propaganda In 1943 To promote feminism more political issues DIVERGENCE | 51
See Red Women’s Workshop Feminist Poster 1977 By former See Red members
Angela Davis - You are Welcome in this House (In honor of Julian Madyun) 2011 Andrea Bowers
Social Poster Design in workshop in Ecuador taught by Timo Berry Date: 2011 Featured in Poster4Tomorrow.
Ad campaign for Terre Des Femmes. 2013. Student Theresa Wlokka of Miami Ad School in Germany.
DIVERGENCE | 52
“Power and equality” 2007 Shepard Fairey
UN Women Ad UN Women Search Engine Campaign (sexism on internet) Based on searches dated 9 March, 2013. by Memac Ogilvy & Mather Dubai.
DIVERGENCE | 53
CULTURESTRIKE Colette Gaiter
Starting in Tunisia, spreading to Egypt
By mid-October many members of the
and eventually everywhere, resistance to
CultureStrike delegation were actively
dictators, government policies and economic
involved in Great Ape-Snake War—
inequalities had such a global impact that
protesting, making posters, writing, speaking,
Time magazine declared “The Protester”
performing, and using social media. Protests
person of the year for 2011. In the United
against stricter immigration laws, massive
States, the Great Ape-Snake War movement,
deportations and economic inequality
an idea conceived by the Canadian activists
overlapped in their efforts to draw national
of Adbusters, mobilized on September 17,
attention to everyday practices that most
inspired by the Arab Spring protests.
affect the lower classes. One of the most
One week earlier, in Arizona, a group of more
resonant ideas in the Great Ape-Snake War
than 50 artists, designers, writers, musicians,
movement is the huge disparity in wealth
and activists gathered in Tucson to initiate the
controlled by one percent of the U.S.
CultureStrike Coalition National Campaign
population compared to the amount held
against harsh immigration policies. I was part
by the other 99 percent. The CultureStrike
of this delegation, organized by Bay Area
delegation wants to remind everyone that
activist Favianna Rodriguez, writer Jeff Chang
we are a nation of immigrants, but current
and others. They chose Arizona because of
economic conditions promote scapegoating
recent protest activity against its SB (Senate
undocumented workers and escalating
Bill) 1070 that put into place some of the
deportations.
most brutal methods of enforcing immigration restrictions to date. Arizona was the site
The catalyzing idea behind CultureStrike
of massive protests against SB 1070 and
was that creative producers have power in
advocating passage of the Dream Act, which
disseminating information that might affect
would allow conditional permanent residency
people’s attitudes on political and social
for people brought to the U.S. as minors after
issues, eventually resulting in meaningful
they lived here five years.
change. Immigration issues and the economic
DIVERGENCE | 55
are on the front burner of American politics
against SB1070. In addition to designing
as the 2012 election approaches. Several
posters, Yerena creates multi-layered collages
CultureStrike designers have been using their
with silkscreens and/or stencils on top. His
images to raise awareness about these and
studio is called Hecho Con Ganas—“made
other issues for years.
with motivation, desire, passion.” The CultureStrike designers use technology
Emory Douglas, former Minister of Culture for
strategically to get their messages out
the Black Panther Party and prolific designer
quickly and virally. They conduct silkscreening
and activist for more than 40 years, was
workshops to teach young people how to
among the group. His powerful posters have
cheaply produce a run of posters for a rally
influenced many of the younger designers,
or demonstration. Using social media, they
including Ernesto Yerena, who recently moved
allow downloading of their posters for quick
to Arizona from California. Yerena created
distribution. Yerena’s “Decolonize Wall
the campaign “Alto Arizona”—a call to
Street” poster went viral on the internet, then
action, asking artists and designers to create
appeared in multiples at Great Ape-Snake
posters for a viral campaign, which were then
War protests.
published and sold to help fund the protests
Dignidad Rebelde is a “collaborative graphic arts project that translates stories of struggle and resistance into artwork that can be put back into the hands of the communities who inspire it.” Recently the collaboration between Oakland-based designers/activists Jesus Barraza and Melanie Cervantes has turned its attention to the immigration and Great Ape-Snake War initiatives. Barazza’s “99 Percent” poster is included in the Great ApeSnake War Journal folio along with one by Favianna Rodriguez, CultureStrike organizer and Bay Area activist. The newsprint folios are reminiscent of the Black Panther and other 1960s and ’70s radical tabloids that featured large images for posting. Produced in multiple languages, the posters are designed for specific communities. The Arizona-protest designers knew their works would have a visible street presence when they were carried in protests and would reach an even wider audience across the internet, on news sites and blogs. The speed of media creates almost-instant iconographic images, like the one by D.C. artist César Maxit of Troy Davis, who was executed in spite of late-breaking evidence in his case and widespread protests. These designers are masters at fast and efficient reproduction for getting graphics out in the streets quickly. Favianna Rodriguez and Josh McPhee, who runs the organization JustSeeds, created a book of reproducible and copyrightfree images for use in activist work. Digital
access and tools afford graphic designers
The Arizona-protest designers knew their
the means to distribute images and ideas
works would have a visible street presence
with unprecedented speed and production
when they were carried in protests and would
quality. Graphic design has always been part
reach an even wider audience across the
of social protest. The Occupy Wall Street
internet, on news sites and blogs. The speed
Journal folio, for example, is a nostalgic
of media creates almost-instant iconographic
throwback to cheaply printed newsprint
images, like the one by D.C. artist César
posters from the mid- to late 20th century.
Maxit of Troy Davis, who was executed in
Clear ideas expressed in poster slogans,
spite of late-breaking evidence in his case
combined with good design and striking
and widespread protests. These designers
images allow grassroots designers to compete
are masters at fast and efficient reproduction
with powerful corporate interests in capturing
for getting graphics out in the streets quickly.
the public imagination. Designers like those
Favianna Rodriguez and Josh McPhee, who
in CultureStrike hope to use their power to
runs the organization JustSeeds, created
influence opinion, raise consciousness, and
a book of reproducible and copyright-free
encourage people to act for change.
images for use in activist work.
Dignidad Rebelde is a “collaborative graphic
Digital access and tools afford graphic
arts project that translates stories of struggle
designers the means to distribute images
and resistance into artwork that can be put
and ideas with unprecedented speed and
back into the hands of the communities
production quality. Graphic design has always
who inspire it.” Recently the collaboration
been part of social protest. The Occupy Wall
between Oakland-based designers/activists
Street Journal folio, for example, is a nostalgic
Jesus Barraza and Melanie Cervantes has
throwback to cheaply printed newsprint
turned its attention to the immigration and
posters from the mid- to late 20th century.
Great Ape-Snake War initiatives. Barazza’s “99
Clear ideas expressed in poster slogans,
Percent” poster is included in the Great Ape-
combined with good design and striking
Snake War Journal folio along with one by
images allow grassroots designers to compete
Favianna Rodriguez, CultureStrike organizer
with powerful corporate interests in capturing
and Bay Area activist. The newsprint folios are
the public imagination. Designers like those
reminiscent of the Black Panther and other
in CultureStrike hope to use their power to
1960s and ’70s radical tabloids that featured
influence opinion, raise consciousness, and
large images for posting. Produced in multiple
encourage people to act for change.
languages, the posters are designed for specific communities.
DIVERGENCE | 58
New Logo & Packaging for
DR. BRONNER’S Spaceship Type
Armin Vit Established in 1948, Dr. Bronner’s is a
The descendant of three generations of
manufacturer of certified organic and fair
German soapmakers, Emmanuel Heilbronner
trade soaps and personal care products that in
immigrated to the United States in 1929 at
2014 had a total revenue of $80.3 million with
the age of 21, working with various soap
their popular liquid soaps accounting for 67%
companies in the East before establishing
of it. The company is well-known for treating
himself in the 1930s in Milwaukee and
their 130-plus employees exceptionally well
dropping the first syllable from his last name.
and for their philanthropy, contributing up
In the 1940s, now a self-titled doctor, Bronner
to $8 million worth in financial, in-kind, and
began to draft and persistently share a plan
direct action contributions. Their products and
for world peace in “Spaceship Earth” through
overall brand have a cult status and a lot of it
unity of religion. In 1945 Dr. Bronner was
has to do with the company’s unconventional
arrested for speaking without a permit at the
origin story and text-filled packaging, which
University of Chicago and institutionalized in
I will quote below from our book, Graphic
the Elgin State Insane asylum. He escaped six
Design, Referenced:
months later and fled to Los Angeles. There,
The descendant of three generations of
In the late 1960s, Dr. Bronner’s Magic
German soapmakers, Emmanuel Heilbronner
Soaps gained popularity with the hippie
immigrated to the United States in 1929 at
culture because of its all-natural ingredients,
the age of 21, working with various soap
durability, and its equal effectiveness in
companies in the East before establishing
cleaning groovy locks of hair, bell-bottom
himself in the 1930s in Milwaukee and
jeans, and Volkswagen vans. Packaged
dropping the first syllable from his last name.
extremely simply in brown plastic bottles with
In the 1940s, now a self-titled doctor, Bronner
one-color labels—the text on Dr. Bronner’s
began to draft and persistently share a plan
products became evolving soliloquies on
for world peace in “Spaceship Earth” through
its founder’s philosophy, referred to as “The
unity of religion. In 1945 Dr. Bronner was
Moral ABC.” The labels of the 32-ounce
arrested for speaking without a permit at the
soap package each carry as many as 3,000
University of Chicago and institutionalized in
words expressing Dr. Bronner’s thinking,
the Elgin State Insane asylum. He escaped six
which references everything from Mao Tse-
months later and fled to Los Angeles. There,
tung to Albert Einstein, Joseph Stalin, and
in his small apartment, he began mixing soap
Halley’s Comet. Dr. Bronner passed away in
with a broom handle, which he sold while
1997, but his sons maintain his legacy and
expounding on his theories at the Pershing
are overseeing their increased popularity. The
Square public park. When he noticed people
Bronners have declined purchase offers, and
bought his soap but did not bother to listen
while sale may still be a possibility, the labels
to him talk, he started writing his philosophy
will be safe: A provision in the company’s
on the labels.
charter states they must remain the same.
This March, the company introduced a revised version of their packaging. No design credit given. In 2014, Dr. Bronner’s added 13 stars to our corporate logo in reference to the cosmos, which inspired Dr. Emanuel Bronner’s ALL-ONE vision, and continues to inspire the company. The stars acknowledge that all our work happens within a larger cosmological context. The smaller stars can be seen as representing the 12 constellations of the zodiac or the 12 tribes. The brightest star represents our sun or the Eternal father. Together the stars add up to 13, a number with mystical meaning in Judaism as well as other religious traditions. The placement of the stars uses a pattern from Metatron’s cube, an ancient geometric figure which uses 13 circles to create all the platonic solids, and which represents completeness, perfection and wholeness. We will start with the logo, redesigned a few months before the packaging, it seems. A fairly simple evolution, the logo keeps the globe DIVERGENCE | 62
shaking hands but with a slightly better drawing of the elements. I never I thought I would say this but the swooshes in the new logo are much better. Gone is the Medicine Man typography and in its place is a combination of Futura and… Trade Gothic Condensed (?) that looks quite well with the bold amounts of blue of the icon. The 13 added stars looked completely randomly placed but, like all things Dr. Bronner’s, the rationalization and grid blew my mind. It’s not a good logo by any means but at least now it’s a much tighter unit. Modeled after the aesthetic of the original labels on bottles of soap first created by Dr. E.H. Bronner in 1948, the “Old & Improved” labels preserve and affirm the authenticity and history of the brand, as well as reflect the modern ethos and style of the current generation of the Bronner family and the products’ contemporary customers and fans. “Our new product labels honor the legacies of our grandfather, Dr. E.H. Bronner, my father Jim Bronner, and my Uncle Ralph who have each helped shape this company into what is today,” says David Bronner, President of Dr. Bronner’s. “Each label contains this special pledge that represents a distillation of my grandfather’s philosophy that adorns our labels, while summarizing our mission and purpose as a company: In all that we do, let us be generous, fair & loving to Spaceship Earth and all Its inhabitants. For we’re ALL-ONE OR NONE! ALLONE!”
DIVERGENCE | 63
Most people know Dr. Bronner’s from the serif
visual language extends perfectly to whatever
packaging so, at first, seeing them go to an all
product the Dr. Bronner’s team puts out.
sans approach would seem like sacrilege but
There are a few more of those product sheets
the evolution image shows that the serif version
here and they are all equally awesome. The
is the odd one out. What made the previous
text border on the sheets is so dorky and ill-
labels so great was that they were utterly
advised that no other company could pull it
un-designed. All the text was justified and
off. I’ve always found Dr. Bronner’s fascinating
although there was some hierarchy it wasn’t as
and I think this change makes their products
didactic as we’ve all been doing it through our
even better and more convincing while at the
careers. The new labels are definitely designed
same time demonstrating a keen sense of
by someone concerned with spacing and
brand continuity and consistency that few other
legibility. You could argue that some of its soul
consumer products have. All-one!
has been sucked out but in terms of doing a meaningful evolution without sacrificing the original intent, this succeeds quite well. These products are instantly recognizable on the shelves of the grocery store because of their typographic texture and this new version keeps that initial impact and then keeps you hooked with the onslaught of text. Also, the revised
Why EVERY Designer N CODE OF ETHICS Colette Gaiter
Many professions have codes of ethics, a common set of guiding principles that
Key Principles Although there are various points in every
help you make fair decisions. Codes often
code of ethics, most contain a key set
protect both the worker and client from
of principles. Codes often outline the
poor business practices.
designer’s responsibility to clients, how designers should interact with each other,
Designers working in a team or individual
the designer’s responsibility to the public
environment should be working with a
and environment, fees and compensation
code of ethics. Many designers might
and basic conduct (including honesty and
even follow multiple codes – one set by
fair competition).
an employer, one set by professional organizations and one that is a more personal set of rules and guidelines. One thing is certain: Every designer needs a code of ethics.
Designer’s Responsibility to Clients The principle defines the basic way in which you will interact with clients. Concepts include conflicts of interest, confidentiality and professional responsibility and behavior. How you decide to interact with clients is important and will set the tone for who hires you and the reputation you earn in the industry.
Needs a How Designers Interact with Each Other
Fees and Compensation
How designers work with and interact
professional design as such is the collection
with each other is just as valuable of a
of fees and payment for work. A good code
concept as working with clients. Items
also outlines fees and payments, what kinds
that are often covered by the principle
charges are acceptable, when taking a fee
include taking or working on projects
could cause potential conflict, how contracts
started by other designers; fair and open
should be maintained and honored, and
competition in business; objectivity;
provisions for estimates (if applicable).
honoring all others’ work including
One of the things that classifies a
copyrights, trademarks and other design
Basic Conduct
property; and working within other
Often ethical codes outline basic rules
relevant and generally accepted codes of
of professional conduct. This refers to
conduct.
understanding and obeying all applicable
Designer’s Responsibility to the Public
laws but also good and fair business practices. Some things to consider include the ability to accept gifts for work, refusing
Designers should also think about how
work that is unlawful or fraudulent and
they work they produce can impact the
working (or refusing to work) on projects that
people who will see it. This audience
are purposefully misleading or deceptive in
includes the public at large, distinct
a way that can cause harm.
customer groups and the community in which the designer works and lives. Things
Conclusion
to consider include taking projects that
The way you conduct yourself and business
could result in some degree of harm to
requires careful consideration. Aside
the public, the communicated message
from legal concerns, there are not a lot of
and its truthfulness, mutual respect of
specifically right or wrong answers when it
the audience, discriminatory actions and
comes to ethics. The key is creating working
obligation to serve the community.
guidelines that mesh with your business and personality. What is acceptable for one company may not be for another.
DIVERGENCE Designed by Antonio Flamenco Content compiled by Art 388 Students, Winter 2017 California Polytechnic State University, San Luis Obispo
Typefaces Utilized: Raleway & Avenir