CATALYST PARADIGM
FOR DESIGNERS and creatives WHO aspire to visually affect change in the world
guiding principles handbook
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WE ARE NEVER CONTENT
We—we who have both talent and heart—are never content. We recognize the voids of concern within the local and global community, we seek to both know and engage them. We respond to these with design, art, and other creative means. We take responsibility for generating awareness proactively. We don’t join bandwagons. We create them, for we are the creative catalysts. We are those designers, artists, dancers, singers, poets, creative writers, actors, and other creative individuals who are passionate about issues of social justice, community engagement, cultural identity development, and progress within society, and we inhabit the gift and talent to communicate this to the world via dynamic and compelling visual form. We are continually committed to using love as the core for communication and creative exchange; exuding passion for our work in the form of effort, attitude, The Catalyst Paradigm Handbook 3
diligence, and endurance; generating awareness through concise and bold visual communication systems and appropriately effective media—whether film, graphic, poster, book, interactive, web, experiential, or social design; and developing and articulating a vision and voice in relation to social issues that serves as the catalyst for progress and change. The catalyst designer is like a hammer. Our impact transcends our function. Initially we metaphorically bang nail into wood- to make an initial impact, but that nailed wood is used build a house, which then provide a home for those in need. Our efforts move beyond the immediate viewer and client and strives for the larger audience. We hold aesthetic refinement to high standards, but we let nothing detract from the core essence of our work.
As a change agent in society, the catalyst designer does not work for immoral purposes, but works against them. Propaganda aims to incite positive and progressive action, not to harm or insult others. We strive to visualize the core message, not dwell those things that lie in prepositional phrases. The catalyst designer embraces not only the mechanisms and processes of design when working to affect change, but also welcomes other theories of leadership and social change. For our work, our knowledge, skills, and passions must extend beyond just being a visualizer. We must also be activators as well as leaders. Sign here. Commit to yourself the ideals of the Catalyst Paradigm.
X We recognize that there are very few within the design population who wholeheartedly ascribe to these ideals. This makes us special and gives us a heavy responsibility to society. It does not and should never make us elitist, arrogant, and lacking of a collaborative spirit, but should be the very reason by which we embrace and value every other designer and creative being that exist. The Catalyst Paradigm Handbook 5
HOW THIS WORKS This book is to be used by designers and creative bodies alike in the efforts of creating change and awareness within the community via the media of design thinking and leadership. This includes resources, worksheets, and guidelines that can help readers transform ideas and visions into tangible and integrated design works. Before proceeding, please recognize that the contents of this book may not be valued by everyone who reads it窶馬ot even every designer.
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This boy is a villager in Uganda who was struck and beaten by the Lord’s Resistance Army that terrorizes the war-torn nation. Catalysts like those who lead the Invisible Children campaign work with youth worldwide to help combat these and other issues that Ugandan children face.
Damn, Skippy.
FIND THE VOIDS As a catalyst designer, you should be well informed of the issues within the local, national, and global community that affects you and your work. Many of these may present themselves to you via the daily news or simply from your travels in the town that you live in. As well, there may be issues and interests that spark your attention naturally, and you should definitely be receptive to these. However, reception is not the only way to become informed. The catalyst should be just as much of a proactive seeker as he/she is a receiver. He should drive campaigns of awareness even when issues aren’t yet mainstream and not just wait on big occurrences as a que to react.
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ISSUES TO CONSIDER There are countless issues within the local, national, and global community that catalysts can pursue. Listed below are some, but you can use the worksheet on the following page to hel you find your key issue to pursue.
National and global social issues Abortion
Reform
Corporal Punishment
Affirmative Action
Cancer Awareness
Correction and
Afrocentrism
Censorship
Rehabilitation
Age Discrimination
Child Abuse
Creation vs. Evolution
AIDS/HIV
Child Advocacy
Dam Issues
Animal Rights
Child Molestation
Death Penalty
Anti-Semitism
Child Pornography
Disabilities
Apathy
Child Soldiers
Discrimination
Arts in Schools
Church-State
Diversity
Asian-American
Civil Rights
Dog Breed Specific
Discrimination
Climate Change
Legislation
Black Issues
Cloning
Domestic Violence
Breast Cancer
Computer
Drinking Age
Campaign Finance
Conservation
Drug Policy
Drugs in Sports
Internet
Public Nudity
Drugs in Urban
K-12 Education
Race and Racism
Communities
Kidnapping
Racial Profiling
Eating Disorders
Language Policy
Secondary Education
Educational Equity
Lesbian, Gay, and
Secondhand Smoke
Employment and
Bisexual Issues
Segregation
Workplace Issues
Literacy
Self-Segregation
Environmental Health
Media Ethics and
Sexuality
Euthanasia
Accountability
Shorter Workweek
Factory Farming
Men’s Movement
Social Security Reform
Fat Acceptance
Militia Movement
Socially Responsible
Feminism
Minimum Wage
Investing
Firearms Policy
Mining
Stadium Taxes
Food Safety
Multiculturalism
Student Activism
Freedom of Expression
Native American
Sustainable Agriculture
Gas Prices
Obesity
Sustainable Design
Genetic Engineering
Oil and Gas
Sustainable
Gentrification
Ozone Depletion
Development
Global Change
Patriotism
Tax Reform
Global Warming
Peace and Nonviolence
Term Limits
Green Living
Peak Oil
Transphobia
Health Care Policy
Philanthropy
Urban Crime
Health Care Reform
Political Issues
Urban Sprawl
Housing Deficiency
Pollution
Video Games
Human Genome Projects
Population
Violence
Human Rights
Pornography
Voluntary Simplicity
Immigration Reform
Poverty
Waste Management
Immunizations
Premarital Sex
Weapons Disarmament
Incest
Prostitution
and Nonproliferation The Catalyst Paradigm Paradigm Handbook Handbook 11 11
Do you see this fire?? It destroyed thousands of homes and communities in southern California. What if this was your homeor studio space? Think of ways by which you can utilize design to spark more awareness and add more flame to the environmental issues that our nation and others face.
FEEL SOMETHING After knowing about the issues existing in the world around you, it is easy to become overwhelmed with disdain or dissatisfaction and simply become a critic of society. However, instead of allowing this rush of concern to become sterile via complaining and bickering, allow it to fuel your passion for change. Channel it into progressive thought. Think not “This issue sucks and needs to be changed,� but instead think about how can you as a designer and leader serve to bring about the change. How can you use design to spark more awareness about the issue? How can you use it to mobilize other people to combat the cause? Use this and other questions to evoke passion from within.
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Quasi-anonymous guerilla artist Banksy generates awareness in Great Britain through his satirical street art and design work. The one to the right is an example in Park Street, Bristol, that serves to attack a sexual health issue in that community.
CONCEIVE A VISION When you first start thinking about change, there will probably be many great ideas and solutions floating around. Link these concepts to an overall vision that people can grasp easily and remember. A clear vision can help everyone understand why you’re asking them to do something. When people see for themselves what you’re trying to achieve, then the directives they’re given tend to make more sense.
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Creating and implementing a powerful, yet aesthetically compelling design project is one of the key components of being a catalyst. When you encounter issues like those expressed in the previous sections, it is not enough to just feel. You must act. Impactful action starts with effective vision and ideation, so use the following worksheets and tools to help with this part of the catalyst design process:* Creative Brief Worksheet and Template Event Planning Worksheet Mind Web Template Sketchy Ideas Sketch Pages
* These and other resources can be found in large form at http://catalystparadigm.com
creative brief A creative brief is like a road map. A great brief leads to imaginative and persuasive work and gets you there quickly. A bad creative brief starts you off in the wrong direction. So you have to stop, figure out where the heck you’re going, and start again. Or worse, you follow that brief to Trash Town, a total waste of time.*
+
-
Good for presenting ideas to allies and
Not necessary for quick or impromptu
collaborators
projects
Can be good for the designer in efforts
Can put designer in a state of thinking
to articulate the details of the vision
instead of acting
* Adcracker.com
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EVENT PL ANNING When trying to share your design work, you may desire to create an event whereby people can learn more about the cause, connect with other interested parties, and see the design work that relates to the issue. To do this, use the event planning guide to generate ideas for how to mobilize your audience.
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Allows you to find tangible resources
Doesn’t aid in the process of creaing
and ways by which to show work
the actual design work
Mind Web A mind web is a tool for thinking about how the things that you want to change in the world relates to other ideas. It can help for free creative flow of thoughts. Just don’t let your thoughts get tangled inside the web, and this should be a sure-fire aid.
+
-
Allows you to create and visualize all
Can make the project seem more
the connections that your ideas have
overwhelming that one may desire
to various parts of the issue Helps expand initial thoughts
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Sketching Simple sketching is hands down the best and easiest way to start generating new ideas and concepts. Just start with some blank paper... and go for it! Pretty easy and self explanatory. You can start with the sheets on the following pages of this section.
+
-
Good for starting visual sketches and
No structure
ideation Transforms words into large design thinking of issues like form, size, etc
The Creative Brief GUIDE Answering the questions below in your creative brief will provide a thorough foundation by which to show ideas to allies and partners. Project Summary What is the basic overview of the project? What sparked the need for it? What’s its main purpose? Target Audience Who’s the audience? What are their demographics- occupation, age range, gender What do they care about? Perception/Tone Desires What do we want the audience to think and feel? What can help achieve this goal? What adjectives can be used to describe the desired perception of the project? What are some specific visual goals to convey? Communication Strategy How will we convince them? What media will we use? What form will this project take? What is the overall message you are trying to convey to your target audience? How will success be measured?
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Competition and Challengers What competition and challenges can you foresee this project having? How you are different from your competition? Who and what can help you combat these? Targeted Message single-minded word or phrase that describes the project
creative brief
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Project Lead(s) Project Background and Summary
Target Audience
Communication Strategy
Competition and Challengers
Perception/Tone Desires
creative brief
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Deadlines Date
Budget Task
Expense Item
$ Amount
Total Amount
Single statement message
Mind Web
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Mind Web
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Sketch pad
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FIND ALLIES There is abundant value in building a strong network of people to support and guide the creative projects that you create as a catalyst. Whether using them as teammates, collaborators, or just as people from which to receive insight and wisdom, working with the people around you can help to turn a simple creative idea into a large, impactful, and relevant campaign. They can help you find an audience for your work, a means by which to share it in the community, as well as a plethora of ways to sustain it for future use. The following pages will list some people to start with no matter what endeavors you’re pursuing as a catalyst designer. The terms to the right can help define some of the roles that people in your network can play.
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There are many people around who can help bring your designs to the forefront of the issues and causes that they represent. Whether a logo for a local nonprofit, school desks for youth in India, or posters for an awareness campaign, work with people at multiple levels of authority in efforts to actively integrate your work into the community that it serves. In addition to this, it is essential to build a team when pursuing a long-term or large-scale design project and initiative. Although it is ideal to have design projects in your portfolio that you can humbly claim as your own, you should embrace the benefits that come with working with other people towards a shared vision. From authority figures to studiomates to younger siblings, utilize the insight and perspectives of those around you to help accomplish your vision. And don’t sway from asking for their labor and time too, if needed.
Who to Contact.... Numerous members of the community are willing and able to contribute to causes that you express concern about in your designs. Work with them to get your design projects moving in the community. Start with some of the figures listed below.
Local and National figures of interest Classmates
Professors
Police Officials
Friends
Community Leaders
Mayor
Student group
Administrators
Staff
members
Chief Officers
City Officials
Student leaders
Celebrities
Philanthropists
Student government
Student Leaders
Community Services
The cool kids
Non-profit organization
Local businesses
The not-so-cool kids
leaders
School councils
Other designers and
Design firms
Neighborhood
creative catalysts
Art programs
Associations
AIGA members
Professors
Other universities
Community Leaders
Family
Administrators
Neighbors
Chief Officers The Catalyst Paradigm Handbook 31
Do you see how this factory is destroying the earth? Create a design campaign that can combat it. Make shit happen!
TAKE ACTION Design catalysts are not just creative dreamers. We make shit happen with our designed works. Both before and after we start projects, we set the goal of sparking change and awareness. So take your shit, and make it an integral feature in your community.
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Action Plan An action plan is another one of those creative road maps. It allows for articulating the series of steps needed to accomplish the project goals.
+
-
Allows you to create and visualize the
Can make the project seem more
process for completing the project.
overwhelming that one may desire.
Helps you stay organized and on track.
Project may fail if any steps are missed or not accomplished.
To Do List To Do lists are perhaps one of the best tools to use to stay on top of your tasks. Just don’t get caught in the cycle of adding tasks without completing others!
+
-
Great for capturing both big and small
Disallows one to see how tasks fit into
tasks to be accomplished
the larger spectrum of goals.
Can flow continuously from day to day
Can cause designer to get stuck in a mode of procrastination.
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Action Plan
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Project Lead(s) Task/ Action Step
Responsible Party
Resources Needed
Completion Date
Status
Other Notes
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To Do List
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To Do List
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Jamie Torkowski is the found and leader of the To Write Love on Her Arms non-profit campaign. Although not a designer, he has led over millions of people in one of today’s most creative, visually compelling, and award-winning national campaigns.
TELL PEOPLE One of the biggest issues facing designers is the promotion and showcasing of their work by audiences. Because the core role of the catalysts is to inform, it is critical that others see our work and knkow the cause(s) for which it stands. So don’t keep your work to yourself. Network, showcase, and get people involved.
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There are many traditional and new media avenues by which you can share your work with your community. Most traditional methods include submitting works to newspapers, magazines, and other publications, establishing a poster campaign within the community, flyering information about the works, or even working with your allies and connectors to establish an exhibition of the works. Another great method is to connect with them to create innovative and engaging events that can draw in people to see the work that you have done as a catalyst. This allows you to be a network of both fans and supporters of your campaign and movement. By utilizing new and interactive media like blogs, social media, and websites, you can keep people informed with the progress of your projects and other updates of the social issue, which will doubly allow you to sustain your fan and support base.
Print and traditional methods There are many ways by which you can showcase, and market your catalyst design projects. Many are listed below to get you started. However, as a catalyst, we hope that you do not stick only to these typical methods to deliver your work and message. Think outside the expected. Be dynamic. Traditional promotional outlets Bulk email ads
Billboards
Magnetic Car signs
Card packs
Telephone booths ads
Table tents
Posters
Television slots
Text messaging blasts
Flyer campaign
Radio ad slots
Tshirt campaigns
Direct mail info
Door hangers
Apparel
Inserts in publications
Wallet size cards
Newspaper ads
Windshield flyering
Newsletters
Point-of-Purchase cards
Association publications
in restaurants
Outdoor advertising
Post card flyers
Bus advertising
Mural
Bench advertising
Bulletin boards
Taxi top advertising
Car banners
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social media campaigns* With the constant advancements of technology in both the internet and device-oriented spectrums, there are many outlets online by which you can share your ideas and projects for change as you implement them. Try some of those listed below. For large and ongoing design projects, it may serve much benefit to develop a website to which you can direct your audience to retrieve more information. There are many sites that allow for free web hosting, but you must by a domain before it can be utilized. As well, establish an email address and other contact information to which viewers can send any inquiries.
An extensive list of social media sources can be found at http://catalystparadigm.com
guerilla advertising Guerrilla tactics are by far the best way to generate dynamic and innovative awareness of your most passionate social concerns and/or promote your design work. Encounter your audience when, where, and how they least expected. Be unconventional and just go for it!
Facebook MySpace Twitter Tumblr
Many social media avenues can be integrated together with each other and a website in order to produce a consistent message and manner of sharing.
Ning Blogger blogging Wordpress blogging idealist.com network YouTube Vimeo Flickr Picasa LiveStream Cause.net The Catalyst Paradigm Handbook 45
KEEP GOING No impactful and ambitious endeavor comes without its fair share of challenges and complexities. However, if you are as committed to the ideals of this book as you disclosed as the beginning of the book, then you know the importance that endurance can have on the success of your designs and their power to generate awareness for social causes.
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WE MAKE SHIT HAPPEN
ADDITIONAL RESOURCES Manifestos Project M Anti- Manifesto Communication Designer Manifesto Experience Design Manifesto
Worksheets Creative Brief Action Plan To Do List Mind Map Sketch Pad Calendar
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project h design Anti- manifesto I think we can all agree that manifestos are over-written and under-executed. So call this a rant or a pep talk, a sermon if that’s your cup of tea, or maybe most appropriately, a call to arms. Here’s the rose-colored glasses version: We need the design world (particularly industrial design) to stop talking big and start doing good; to put the problemsolving skills on which we pride ourselves to work on some of the biggest global issues; to design for health, poverty, homelessness, education, and more. And here’s the brass tacks reality: We need to challenge the design world to take the “product” out of product design for a second and deliver results and impact rather than form and function; to reconsider who our clients really are; to turn our tightly-cinched consumer business models and luxury aesthetics on their heads; to get over “going green;” and to enlist a new generation of design activists. We need big hearts, bigger business sense, and even bigger balls. Taking the “product” out of product design Unfortunately, the word “product” has become a hindrance to what we can really produce. We need to stop making things and start making impact. Our real goal should be to design the biggest impact with the least amount of product. What this means is going against every design instinct we have ever been taught. Let’s forget momentarily about form and function, and consider what we could deliver that isn’t defined by an object: catalysts and engagement. A great way to make this distinction is by using a function vs. impact assessment. Take a hammer, for example. Its function is what it immediately provides: it drives
a nail. Its short-range impact is what that function enables: it builds homes. And most importantly, its long-range impact is the context-based application of its function and short-range impact: it provides shelter to those who need it. Separating function from impact is a critical step in the design process, encouraging us to look for consequences beyond the obvious, and grounding us in considerations beyond the often-irresistible distractions of form and function. Learning from Appro-Tech Appropriate technologies (appro-tech for short), is a field of engineering that produces solutions based on local technologies, materials, and contexts. As the name suggests, the focus here is on appropriate solutions for basic problems (power, water, healthcare)–where examples might range from wind turbines made from neighborhood manufacturing refuse in Guatemala to water reclamation systems made from scrap plastic and bike parts in India. Since there is no real “manufacturing,” appro-tech isn’t usually considered a viable design process, but that’s a shame. Because appro-tech relies heavily on on-site, local assembly and materials, the design that goes into it is less material-driven and more results-driven. It is typically process-centered, and systemic. And perhaps most importantly, it turns end users into co-designers, making pride and participation key ingredients in the success of the object. Alan Jacobson, who spearheaded an inspiring environmental design project in Rwanda (part genocide memorial, part community arts initiative), talks about the “pride of creation” as an underutilized and underestimated tool in design, one that creates longer-lasting user relationships and a sense of ownership.
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One of the finalists in last year’s INDEX Awards: Design to Improve Life competition, for example, was essentially a rubber cap. It was a simple object–no feat of engineering, and not even functional as an isolated product. But in developing communities, the cap can be attached to any aluminum soda can to create a sharps collector–a tightly sealed receptacle for the safe and proper disposal of hazardous medical waste. One part manufactured product, one part local material, and one part human interaction combine to create a product of undeniable value. And here’s where appro-tech solutions have traditional product design beat: User engagement, local materiality, and context-sensitive assembly are built into the process. Appro-tech products don’t need to be full-service objects embedded with all the first-world technology; they can be systems rather than objects, requiring user participation and local expertise and production to make them functional, relevant, and economically viable. The who of it One could argue that design is only as good as its clients–the people and market that demand what we provide. So by shifting our client base, we’re shifting the nature of design. If all our clients are corporate, we’re only perpetuating the profit-driven machine. In order to move design toward a more humanitarian and global service-based industry, we’ve got to redefine our client base. It’s not rocket science–if we’re using design to improve lives, let’s look to those who are suffering most, to the global citizens who have been under-represented and underserved by the design community. Let’s design for every person we’d never expect to have as a client at our drawing table–squatters living on $2 a day, the growing number of millions of people suffering from HIV/AIDS, post-disaster victims, the homeless, the handicapped, inner city children, prisoners, and more. Let’s recognize that clients do not mean “the people who are paying us,” but rather “the people whom we are serving.”
Let’s also recognize that our work for these clients is not charity or a handout (of course, good will is always part of the motivation), but that these underrepresented clients are an integral part of our global future; that by designing viable, life-improving solutions, we are catalyzing economies, enabling a more productive world, and investing in the prosperity of posterity (our clients’ and our own). Getting over going green Environmental responsibility and innovative green materials are design imperatives, but it’s unnerving to see “green design” being discussed as a trend, particularly without the social dimensions of sustainability. I’ve been trying for years to spark a paradigm shift that builds off material sustainability towards a more social or human sustainability. We can design “green” all day long, but if all that results are more bamboo coffee tables for luxury markets, green design is destined to get a bad rap. Indeed, one can hope that the term “green design” disappears in 5 years–not because design will no longer be green, but because it won’t need to be called out as a value add or as a particular distinction; all design will be green design. But let’s also imbue the next frontier in sustainability with compassion, where our ultimate judge of “goodness” is humanist rather than consumerist. New business models Even without an MBA, it’s not hard to see that current design is largely defined by (and constrained by) consumerism. Further, we’re led to believe that product designers will never make a decent living without big corporate clients. This isn’t actually true.
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With analyses in recent years around the untapped “bottom of the pyramid” markets and the success of the microloan, it’s becoming clear that design practice can be just as profitable designing for masses of low-income clients as it can designing for a sliver of the very rich. But there are different business models at play here, and there will be risk involved. Unfortunately, many humanitarian design solutions are designed for markets in which the end user cannot afford the end products. The target customer is not necessarily, and sometimes simply cannot be, the purchaser. Products designed for the BoP often have to be subsidized by grants or donations, and speaking as the founder of a non-profit, these are not financially sustainable models. The celebrated Hippo Roller, which my organization, Project H Design, has supported and funded in South Africa, is a great example of enabling design. A rolling barrel-type water transportation device, it allows users to fetch 5 times the amount of water they could with traditional buckets and Gerri cans. The result is more free time–for school, business, personal healthcare, play. But each unit costs $100 to produce and deliver, which is close to 2 months’ income for most potential customers. To date, all hippo rollers in use have been subsidized by donations, corporate sponsorships, or private grants. What’s wrong with this picture? We’ll have to apply our design creativity to push new business models–ones that deliver fundable and profitable solutions. Funding structures like micro-lending, community-lending, community profit and fund pooling, and cross-market distribution are possible strategies to more effectively put these design solutions into the hands of the people who need them most. And this requires the partnership of innovative business thinkers, who are now realizing that they need designers just as much as we are realizing we need them.
Design as the new microloan The success of the microloan is compelling: by bridging first- and third- world economies, a $100 investment changes a life. That $100 might be a night out on the town to a New Yorker, but to a farmer in central Uganda, it’s a life-changing business loan. What the microloan really provides is the capital to enable future prosperity and self-sufficiency. Design can provide that same capital–in the form of tools that bring efficiency, productivity, and yes, even wealth. If we as designers make wealth our end goal (not our own wealth, but the wealth of our clients and users), we become designers of capital instead of designers of things. Most of us have heard of the MoneyMaker micro-irrigation pump–an approtech design success story that enables rural Kenyan farmers to pump water and harvest crops even in dry seasons. Aside from being highly functional, it’s a tool with direct financial results that catalyze economies. With 45,000 pumps currently in use by rural farmers, 29,000 new waged jobs have been created, and 37 million dollars a year in new profits have been reported. I’d hate to say it’s all about the money, but for so many developing countries, it really is. The success of the microloan demonstrates a little going a long way. But design can precede (or even replace) the microloan by providing a tool instead of a check that brings enough income to catapult users into economic stability and community prosperity. Activism over academics I graduated from 6 years of design school, seesawing between two sentiments (in addition to the dread of paying off my student loans for decades). I was torn between the feeling of accomplishment of hard and gratifying work, and an The Catalyst Paradigm Handbook 55
uneasiness that none of my work or studios had any real social relevance. And I know that I’m not alone in this crisis-of-conscience. The shameful part of this all-too-common story is that what students want to learn is often not what teachers are teaching. Student populations, as we all know, are communities of activism–one walk through a picket-sign-filled college will evidence this point. But that type of activism gets checked at the door of most design studios–a huge missed opportunity. Design is inherently political, subjective…even subversive. And most importantly, it’s at base an effective tool for solving problems big and small. In other words, it’s both a perfect arena for activism and an actual process for turning that activism into change. Just as some architecture programs have design-build studios that teach hands-on, real production techniques with a real client, we need complementary industrial design programs that give the same type of human-centered opportunities, business partnerships, and real client relationships. Let’s teach passion and collaboration instead of fashion and ego-centric indulgence. Let’s make activism a design asset, putting aesthetics in the back seat for awhile. Individual value shifts And let’s not lose this kick-in-the-pants activism on graduation day. There are a slew of big ideas gaining momentum right now, but collective action often results from individual designers committing themselves as change agents. We each have to make the decision to reevaluate our priorities, and to wake up to the social impact of our design choices. This means considering clients wisely, communicating the societal ramifications of design to our them when they become our clients, and sometimes sacrificing profits to increase social well-being. It means being proactive, seeking out good work, and saturating the market with the values and ideas of progressive design.
The human demand for good, life-improving design is there; let’s provide the supply to stimulate the business demand. Design “ROTC” We will have to be proactive about putting our design thinking to work as well. As I’ve seen first-hand, much of the aid in developing communities is charity without real design thinking. There are missionaries and engineers and health workers and teachers, all of whom are doing their part, but designers who step back, think rigorously and creatively about efficiencies, and find overlooked solutions are sorely underrepresented. I’m challenging designers to commit to their own ROTC program–one weekend a month, 2 weeks out of the year–to apply design thought toward real design problems. We can do this locally or globally–design is a tool as much needed in Uganda as it is at urban homeless shelters. And I’m not talking about clocking community service hours, serving soup or cleaning up beaches. I’m talking about doing what we do best, solving problems–in places that desperately need better human-based solutions. Putting the ‘H’ in design “Design is a hammer,” I like to say, recalling the function vs. impact assessment example earlier, and arguing that it’s not about what the tool does so much as what it enables. I like the term “enabling design” because it’s an action and a descriptor. Let’s create impactful design that enables lives, and in so doing, enable the design industry to carry more positive weight. The H in Project H Design refers to “Product design initiatives for Humanity, Habitats, Health, and Happiness.” But you’ll notice that Humanity comes first. The Catalyst Paradigm Handbook 57
communication designer’s manifesto I have power. My work, my skills, my heart and mind give me this power. I have the power to change the world. With power comes a heavy burden of responsibility. With a clear conscience, I seek to be worthy of such responsibility. Never will I forget that I, too, am corruptible. The intersection of corruption and power is dark, and I will never allow them to collide. 1. I will work diligently, lacking pride, and put my full self and skills to the test every day, on everything I touch. 2. Intelligence will rule my work. Emotion will also rule my work. It’s been said that two rulers cannot rule one kingdom, but with a calm demeanor and level head, anything is possible. 3. I will gently find the balance of work that is ground-breaking, yet appropriate. 4. I will never knowingly work for evil purposes. I will never cause harm. Should I discover that my work has gone to dark ends, I shall arrest it. 5. My work shall never be something I am ashamed of, not now or in the future. I will be proud of my work when it’s truly complete, and not a moment before. 6. I will do a fair amount of pro bono publico work every year for causes that cannot afford the voice that I can find for them. These causes will not be superficial. 7. I will never lose sight of me. If I do ever begin to feel lost, I will find myself again in this manifesto, my beacon of truth and what I stand for.
Experience design The ultimate aim of all creative activity is to bring happiness to people’s lives. Happiness is an emotion that comes in result of positive experiences and affects human beings. Experiences can happen in the past, present or future. Past experiences must offer good memories as a way of re-living it in the present and desiring it for the future. Present experiences must connect to the mind in its whole, bringing focus to the action being performed and getting the mind to a flow state. Happiness comes from the experience itself and not from the result of it. Future experiences must bring desire to the present, creating a present that is better because of the latent potential of a future experience. Experiences can be based in real life or in fantasy, but reality and fantasy must empower one another in a way that the whole is better than the absolute sum of the separate experiences. Experiences that foster happiness should have the following qualities:
Make people feel confident of themselves.
Make people feel they can do something better. Empowers people to do
something in a better way.
Improve people’s lives helping to solve existing pragmatic problems.
Make people have an enjoyable and fun time during the experience, The Catalyst Paradigm Handbook 59
thus making life worth to be lived.
Surprises people in a magic way, bringing delight to the eyes and
making the mind wonder.
Create an emotional connection between everyone involved, the
experience itself and the one supporting the experience.
Make the world a better place to live.
Strengthen relationships between people that live the same experience.
Experiences must be immersive and sensorial. The more it talks to human senses, the better it will be. They can exist in physical or virtual states. The success of an experience is measured by the amount of happiness it brings to life and the amount of people willing to live the experience, not by it’s individual qualities. All kinds of sciences, technologies and studies can be tools for creating happiness and must be used accordingly. Every effort made to get a better understanding of the human condition and psychology should be treasured, for it points to the right direction and brings enlightenment on how to use the many tools available to create a good experience. Artists are not different than scientists. “The artist is an exalted craftsman”, as stated by Walter Gropius in the Bauhaus Manifesto. “By the grace of Heaven and in rare moments of inspiration which transcend the will, art may unconsciously blossom from the labour of his hand, but a base in handicrafts is essential to every artist. It is there that the original source of creativity lies.”
The Experience Designer is therefore a new denomination for all of those that follow this movement and conjure art, science, technology and psychology to desire, conceive and create experiences that bring happiness to the life of many. An experience designer must love and care about people and the world in which we all live. It’s his mission in the world to proudly spread love and happiness through his creations.
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WE MAKE SHIT HAPPEN
creative brief
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Project Lead(s) Project Background and Summary
Target Audience
Communication Strategy
Competition and Challengers
Perception/Tone Desires
creative brief
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Deadlines Date
Budget Task
Expense Item
$ Amount
Total Amount
Single statement message
creative brief
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Project Lead(s) Project Background and Summary
Target Audience
Communication Strategy
Competition and Challengers
Perception/Tone Desires
creative brief
The Catalyst Paradigm Handbook
Deadlines Date
Budget Task
Expense Item
$ Amount
Total Amount
Single statement message
creative brief
The Catalyst Paradigm Handbook
Project Lead(s) Project Background and Summary
Target Audience
Communication Strategy
Competition and Challengers
Perception/Tone Desires
creative brief
The Catalyst Paradigm Handbook
Deadlines Date
Budget Task
Expense Item
$ Amount
Total Amount
Single statement message
Mind Web
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Mind Web
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Mind Web
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Mind Web
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Mind Web
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Sketch pad
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Sketch pad
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Sketch pad
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Sketch pad
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sk et ch y id ea s
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Sketch pad
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Sketch pad
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sk et ch y id ea s
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Action Plan
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Project Lead(s) Task/ Action Step
Responsible Party
Resources Needed
Completion Date
Status
Other Notes
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To Do List
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To Do List
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Calendar
JANUARY S 3 10 17 24 31
M 4 11 18 25
T 5 12 19 26
W 6 13 20 27
T 7 14 21 28
F 1 8 15 22 29
FEBRUARY S 2 9 16 23 30
JULY S 4 11 18 25
M 5 12 19 26
S 7 14 21 28
M 1 8 15 22
T 2 9 16 23
W 3 10 17 24
T 4 11 18 25
MARCH F 5 12 19 26
S 6 13 20 27
AUGUST T 6 13 20 27
W 7 14 21 28
T 1 8 15 22 29
F 2 9 16 23 30
S 3 10 17 24 31
S 1 8 15 22 29
M 2 9 16 23 30
T 3 10 17 24 31
W 4 11 18 25
S 7 14 21 28
M 1 8 15 22 29
T 2 9 16 23 30
W 3 10 17 24 31
T 4 11 18 25
F 5 12 19 26
S 6 13 20 27
F 3 10 17 24
S 4 11 18 25
SEPTEMBER T 5 12 19 26
F 6 13 20 27
S 7 14 21 28
S 5 12 19 26
M T
W 1 6 7 8 13 14 15 20 21 22 27 28 29
T 2 9 16 23 30
APRIL S 4 11 18 25
M 5 12 19 26
T 6 13 20 27
MAY W 7 14 21 28
T 1 8 15 22 29
F 2 9 16 23 30
S 3 10 17 24
OCTOBER S 3 10 17 24 31
M 4 11 18 25
T 5 12 19 26
W 6 13 20 27
S 2 9 16 23 30
M 3 10 17 24 31
JUNE T 4 11 18 25
W 5 12 19 26
T 6 13 20 27
F
S 1 7 8 14 15 21 22 28 29
NOVEMBER T 7 14 21 28
F 1 8 15 22 29
S 2 9 16 23 30
S 7 14 21 28
M 1 8 15 22 29
T 2 9 16 23 30
W 3 10 17 24
T 4 11 18 25
S 6 13 20 27
M T 1 7 8 14 15 21 22 28 29
W 2 9 16 23 30
T 3 10 17 24
F 4 11 18 25
S 5 12 19 26
F 3 10 17 24 31
S 4 11 18 25
DECEMBER F 5 12 19 26
S 6 13 20 27
S 5 12 19 26
M T
W 1 6 7 8 13 14 15 20 21 22 27 28 29
T 2 9 16 23 30
The Catalyst Paradigm Handbook 85
This book was designed and printed by De Andrea Nichols in Fall 2009 in the Communication Design studio at Washington University in St. Louis. The fonts used are Whitney and Impact in various sizes. Dimensions are 7� x 5.5,� and the work is printed on white card stock paper.