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RESEARCH COMPENDIUM // NEO-FACSIMILES

CR E ATIV E PROCESS JOURNA L

DESIGNER'S GUIDE to NEO-FACSIMILES

CREATIVE PROCESS OF

DESIGN STATEMENT

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DESIGNER'S GUIDE to NEO-FACSIMILES This is the current design statement that was formulated during the last semester.

In this modern day, nobody starts out original. We need copying to build the foundation of knowledge and understanding. This project aims to celebrate against the wrongful perception of copying and redefine originality in the field of graphic design

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RESEARCH COMPENDIUM // NEO-FACSIMILES

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LITERATURE

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DESIGNER'S GUIDE to NEO-FACSIMILES

CONTENT > AESTHETICS

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STEAL LIKE

Austin Kleon A New York Times bestseller Steal Like An Artist

by Austin Kleon is one of the books I bought when I chance upon it when i was browsing at Basheer.

This books talks about how our lives is a mashup of everything in our surroundings. Also strongly define that originality doesn’t exist.It also demonstrates the 10 ways to copy without facing any judgement.

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An artist job is to collect ideas.

And nothing is completely original. All creative work builds on what came before. Every new idea is a remix or mash-up of one or two previous ideas. You are a remix or a mash-up of your parents.

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You are a mash-up of what you led into your life.

How does an artist look at the world? First she ask herself what’s worth stealing and second she moves on to the next thing. When you look at the world this way there’s no longer good art or bad art.

There’s just art worth stealing and art that isn’t. Everything in this world is up for grabs and if you don’t find something worth stealing today, you might find it worth stealing it tomorrow or the day after. T.S Elliot said that immature poets imitate, great poets steal.

Bad poets take what they steal and they deface it. And the good poets turn it into something better or at least something different.

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And that’s really the key to creative theft. Imitation is not flattery.

Instead of directly imitating my influences, I decided to push the poems into my own thing and keep going with them because I know that it’s actually transformation that is flattery—taking the things you stolen and turning it into your own thing. And that’s how you steal like an artist.

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DESIGNER'S GUIDE to NEO-FACSIMILES

EVERYTHING IS

Kirby Ferguson Kirby Ferguson explores the challenges of originality and freshness in a world where creativity takes root in what has come before. Without previous inventions we would not have the iPhone, the Model T Ford, Star Wars, Warhol’s soup cans, or the electronic musician Girl Talk.

Ferguson highlights that remixing, referencing and reproducing previous innovations allows artists to engage in a cultural dialogue and allows art, technology and society to continue evolving.

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What Ferguson calls remixing many call plagiarizing. At the heart of US patent law is the desire to protect intellectual property rights and incentivize individual innovation by protecting it from copycatting. But Ferguson argues that these laws ultimately contradict their own intent to “promote the progress of useful arts,” stifling the root of creativity. The problem, says Ferguson, is that we think of creative works as individual property, rather than content that sits in the public domain.

Creative powerhouses from Mark Twain to Beyoncé are open about their love of remixing — and about how referencing others is integral to their creative process. Below is a series of quotes from a wide variety of artistic innovators explaining what role reworking previous material plays in their creative process.

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Some have faced legal problems for their work while others consciously engage in remixing to open a dialogue about the images and culture that shape our world.

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DESIGNER'S GUIDE to NEO-FACSIMILES

•“All ideas are secondhand, consciously and unconsciously drawn from a million outside sources. We are constantly littering our literature with disconnected sentences borrowed from books at some unremembered time and now imagined to be our own.”

— Mark Twain •Ironically, several more quotes about the impossibility of originality have entered into the quotable cannon and been accepted as fact, even though their original sourcing has been lost somewhere on a dusty bookshelf. Bouncing around the internet, some of these quotes have been remixed along the way, with attributions shifting from Franklin P. Jones to Benjamin Franklin. But in an open source world, it’s the idea — rather than the creator — that really matters.

“Only those with no memory insist on their originality.” — attributed to Coco Chanel

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•“Originality is the art of concealing your sources.” — attributed to Franklin P. Jones, or Benjamin Franklin, or Thomas Edison, depending on who you ask “It’s not where you take things from – it’s where you take them to.” — attributed to Jean-Luc Godard •“Good artists copy, great artists steal.” — attributed to Pablo Picasso “I go to the past for research. I need to know what came before so I can break the rules.” — attributed to Vera Wang •“Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination … Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery — celebrate it if you feel like it.” – Jim Jarmusch •“I had gotten the Jay-Z vocal tracks and wasn’t going to do anything with them. A week or so after that, I was at home in Los Angeles, listening to The Beatles and cleaning up my room.

Then it hit me: Oh [bleep], White Album, Black Album. … At one point I saw that I had logged more than two hundred hours …

It would have been easy just to slap the vocals over music of the same tempo. But I wanted to match the feel of the tracks, too.” — Danger Mouse, on mashing up Jay-Z and The Beatles’ classic albums into the The Grey Album •“I jump ’em from other writers but I arrange ’em my own way.”

— Blind Willie McTell

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DESIGNER'S GUIDE to NEO-FACSIMILES

BORROWED

Steven Heller and Julie Lasky Borrowed Design analyses the field of graphic design as a history of credits and debits by charting the transfer of ideas and images across historical, commercial and legal categories.

Ranging from respectfully acknowledged influence to underhand theft or irreverent parody, such exchanges have become design’s second nature. Steven Heller and Julie Lasky lay out the varieties of “borrowed design” through a staggering array of visual examples, from a series of send-ups of Doyle Dane Bernbach’s legendary VW campaign to neo-conservative appropriations of heroic realism.

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ARE ORIGINAL IDEAS

Andrew Vucko We live on a saturated planet. At times it seems there’s no room for originality.

Ideas churn at breakneck speed, from the physical to the virtual world, and the world inside our heads. And in our litigious society, we worry more than ever about being indebted to others.

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“Originality comes from making connections— seeing patterns where others see chaos, and taking old ideas and elevating them to new perspectives,” says one quote, among many that pepper the short film. He adds: “Eventually, I took a step back and chose to build something on the very topic that was plaguing me—the theme of originality.

From there, I searched for references and inspiration, coming across all of these interesting quotes on the subject. While at first each quote felt like a separate idea, as I continued to read, I realized that they could be combined into a single narrative.”

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DESIGNER'S GUIDE to NEO-FACSIMILES

COPYCATS Oded Shenkar Humans, as well as other species, have always relied on imitation to survive in hostile environment, make tools, and outdo rivals and protagonists.

They have learned not to reinvent the wheeleven before there was one. As communication and transportation have advanced, opportunities for imitation have burgeoned: globalisation and technological advances have expanded the ranks of imitation and have made imitation more feasible, more cost effective, and much faster.

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DESIGNER'S GUIDE to NEO-FACSIMILES

The imitator’s edge Why are many imitators successful?

With the innovator and pioneer paving the way (and paying for it), the imitator enjoys free ride. It saves not only on research and development but also on marketing, because customers have already been primed to use normal product or service. The imitators avoids dead ends, whether a losing bet on a dominant design, such as Sony’s Betamax VCR format, or an innovative prescription drug that proves not to work.

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Because most productivity gains come not from the original innovation but from subsequent improvements, imitators are often better positioned to offer the customer something that is not only potentially better but also considerably cheaper.

It should not come as a surprise that the most profitable innovations often are those containing a strong dose of imitation

THE KNOCKOFF

Paul Detrick What do you think of copy-cats? Are they stealing property from the creator? Co-author of the book, The Knockoff Economy, Kal Raustiala, says no.

“A lot of innovation grows out of imitation,” Raustiala tells Reason TV’s Paul Detrick. “So it’s not so much riding on the coattails as it is standing on the shoulders.”

Raustiala and Christopher Sprigman write in their book that when you look at the inner workings of football, fashion, food, as well as many other industries: When people have the freedom to knockoff or copy items, creators and consumers benefit.

“Every time a college coach or a pro coach comes up with a new formation, that is going to be copied, if it’s successful, by their opposition,” says Raustiala.

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Conventional wisdom holds that copying kills creativity, and that laws that protect against copies are essential to innovation--and economic success. But are copyrights and patents always necessary? IKal Raustiala and Christopher Sprigman provocatively argue that creativity can not only survive in the face of copying, but can thrive.

We need to question of incentives and innovation in a wholly new way--by exploring creative fields where copying is generally legal, such as fashion, food, and even professional football. By uncovering these important but rarely studied industries, Raustiala and Sprigman reveal a nuanced and fascinating relationship between imitation and innovation.

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DESIGNER'S GUIDE to NEO-FACSIMILES

WORD BY WORD

H55: Hanson Ho On Appropriation This piece of writing appropriates from many of the words and thoughts of other writers, artists, and designers.

Many art and design works also appropriate from existing objects or ideas. ‘New’ works are created by borrowing and sampling elements from the or the past, and some strategies include imitating, re-intepreting, improving upon, paying homage, and parodying.

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DESIGNER'S GUIDE to NEO-FACSIMILES

From artists Marcel Duchamp’s decontextualisation of a urinal to Andy Warhol’s re-representation of commercial images, and DJ’s remixing music to designers referencing existing designs, it is almost impossible to not appropriate from something else in this information age that we live today.

Even photographing an object is an act of appropriating environment, suggest critic Susan Sontag, in her book On Photography.

Appropriation raises questions about originality, ownership, and plagiarism: if a work is an imitation or a copy of another. It is interesting to note that the word ‘appropriation’ originates from ‘appropriate’. Particularly in the context of design, it is important that this act is relevant to its original intention. Two similar looking designs may appropriate from the same source, but it is often the more appropriate application which turns out to be the stronger piece of work.

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On Authorship

An author is broadly defined as the person who originates or gives existence to anything. In graphic design, a designer is said to have authorship when his or her personal interpretation and expression are identifiable in a body of works.

To be distinctive, they need to display unique visual sensibilities and even generate their own content. A designer who has found his or her identity and intellectual position is more likely to have a ‘voice’ and attain the position of an author.

In today’s world, it is not enough for graphic designers to just be more visual messengers for clients.

Many designers lack a clear approach, however, because of the nature of the profession as a service. We spend most of our time ‘packaging’ the voices of clients’ instead of finding our own.

We need to become more self-aware, and search within ourselves to find that inner voice in order to be distinct authors.

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DESIGNER'S GUIDE to NEO-FACSIMILES

My designs are normally derived from a logical process that allows me to map out step by step how a design is developed, and to gauge its possible outcomes.

This systematic approach helps me anticipate the challenges of each project, and provides clarity for my choice of design. It also results in design derivatives in the form of sketches, written notes, and work-in-progress graphics that document the dialogue and negotiations we have in H55 when conceptualising an idea.

Design derivatives come in handy for our proposals when we show them how we rationally derived our designs. Like the personal thoughts we record in a diary, these design derivatives are also useful for introspection, and as a departure point for developing future projects.

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RESEARCH COMPENDIUM // NEO-FACSIMILES

On Derivatives

IN PRAISE Marcus Boon The “problem” of copying is not necessarily a legal or ethical one in the strict sense of those words. It cannot be resolved by having people take a stand on either side of a line that says that copying is either good or bad, or that copyright and intellectual-property laws should be supported or abandoned. tOne of the principal arguments made against copying is that it in- volves an act of deception.

Something is presented in the guise of something else. This something is produced so that its outward ap- pearance corresponds to something else, to something that it is not.

This is particularly the case in the business world that students are likely to find themselves in upon graduating—a world in which, despite exhortations to “think outside the box,” they will also need to master what’s “in the box,” much of which consists of the ability to manipulate copies.

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DESIGNER'S GUIDE to NEO-FACSIMILES

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THE DESIGNER AS Micheal Rock

Authorship has become a popular term in graphic design circles, especially in those at the edges of the profession: the design academies and the murky territory between design and art. The word has an important ring to it, with seductive connotations of origination and agency. But the question of how designers become authors is a difficult one. and exactly who qualifies and what authored design might look like depends on how you define the term and determine admission into the pantheon.

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Michael Rock Authorship may suggest new approaches to the issue of the design process in a profession traditionally associated more with the communication rather than the origination of messages. But theories of authorship also serve as legitimising strategies, and authorial aspirations may end up reinforcing certain conservative notions of design production and subjectivity – ideas that run counter to recent critical attempts to overthrow the perception of design as based on individual brilliance. The implications of such a re-definition deserve careful scrutiny. What does it really mean to call for a graphic designer to be an author?

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DESIGNER'S GUIDE to NEO-FACSIMILES

The meaning of the word ‘author’ has shifted significantly through history and has been the subject of intense scrutiny over the last 40 years. The earliest definitions are not associated with writing per se, but rather denote ‘the person who originates or gives existence to anything’. Other usages have authoritarian – even patriarchal – connotations: ‘the father of all life’, ‘any inventor, constructor or founder’, ‘one who begets’ and ‘a director, commander, or ruler’.

More recently, Wimsatt and Beardsley’s seminal essay ‘The Intention Fallacy’ (1946) was one of the first to drive a wedge between the author and the text with its claim that a reader could never really ‘know’ the author through his or her writing.

The so-called ‘death of the Author’, proposed most succinctly by Roland Barthes in a 1968 essay of that name, is closely linked to the birth of critical theory, especially theory based in reader response and interpretation rather than intentionality.

Michel Foucault used the rhetorical question ‘What is an Author?’ in 1969 as the title of an influential essay which, in response to Barthes, outlines the basic characteristics and functions of the author and the problems associated with conventional ideas of authorship and origination.

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Foucault demonstrated that over the centuries the relationship between the author and the text has changed. The earliest sacred texts are authorless, their origins lost in history. In fact, the ancient, anonymous origin of such texts serves as a kind of authentication.

On the other hand, scientific texts, at least until after the Renaissance, demanded an author’s name as validation. By the eighteenth century, however, Foucault asserts, the situation had reversed: literature was authored and science had become the product of anonymous objectivity.

Once authors began to be punished for their writing – that is, when a text could be transgressive – the link between the author and the text was firmly established. Text became a kind of private property, owned by the author, and a critical theory developed which reinforced that relationship, searching for keys to the text in the life and intention of its writer. With the rise of scientific method, on the other hand, scientific texts and mathematical proofs were no longer seen as authored texts but as discovered truths.

The scientist revealed an extant phenomenon, a fact anyone faced with the same conditions would have uncovered. Therefore the scientist and mathematician could be the first to discover a paradigm, and lend their name to it, but could never claim authorship over it.

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DESIGNER'S GUIDE to NEO-FACSIMILES

FUCK We are envious of the power, social position and cachet that artists and authors seem to command. By declaring ourselves “designer/ authors� we hope to garner similar respect. Our deep-seated anxiety has motivated a movement in design that values origination of content over manipulation of content.

The problem is one of content. The misconception is that without deep content, design is reduced to pure style, a bag of dubious tricks. In graphic-design circles, form-follows-function is reconfigured as form-follows-content. If content is the source of form, always preceding it and imbuing it with meaning, form without content (as if that were even possible) is some kind of empty shell.

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At a 1962 conference at the Museum of Modern Art, conservative art critic Hilton Kramer denounced Pop Art as “indistinguishable from advertising art” because “Pop Art does not tell us what it feels like to be living through the present moment of civilization. Its social effect is simply to reconcile us to a world of commodities, banalities and vulgarities.”

But perhaps the content of graphic design is exactly that: an evocation of “what it feels like to be living through the present moment of civilization,” with all its “commodities, banalities and vulgarities.”

How else can we discuss the content of a typeface or why the typography of a surfing magazine suddenly becomes relevant? Or how a series of made-up or ‘self-initiated’ posters—already a medium of dubious functionality— can end up on the wall of a major design museum? Work must be saying something, which is different than being about something.

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DESIGNER'S GUIDE to NEO-FACSIMILES

Because the nature of the designed object is limited, individual objects are rarely substantial enough to contain fully rendered ideas. Ideas develop over many projects, spanning years.

Form itself is indexical.

We are intimately, physically connected to the work we produce, and it is inevitable that our work bears our stamp. The choice of projects in each designer’s oeuvre lays out a map of interests and proclivities. (I use the singular designer in the categorical sense, not the individual.)

The way those projects are parsed out, disassembled, reorganized and rendered reveals a philosophy, an aesthetic position, an argument and a critique.

This deep connection to making also positions design in a modulating role between the user and the world. By manipulating form, design reshapes that essential relationship. Form is replaced by exchange. The things we make negotiate a relationship over which we have a profound control.

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DESIGNER'S GUIDE to NEO-FACSIMILES

The trick is to find ways to speak through treatment, via a range of rhetorical devices—?from the written to the visual to the operational—to make those proclamations as poignant as possible, and to return consistently to central ideas, to reexamine and re-express. In this way we build a body of work, and from that body of work emerges a singular message, maybe even what it feels like to be living now. As a popular film critic once wrote, “A movie is not what it is about, it’s how it is about it.” Likewise, for us, our What is a How. Our content is, perpetually, Design itself.

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IS ORIGINALITY Eric Karjaluoto

As designers, we try to hold ourselves to a standard of creating work that is original and new. We like the notion that our ideas are new creations, but this simply cannot be; rather, our ideas are a result of our personal visual and emotional language applied to a particular problem or situation. We are all loaded with a somewhat unique arsenal of language and tools which we can apply to a problem. We originate nothing, but rather invent through the combination of new variations. We are the mash-up artists of communication.

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With time and globalization, more of us have access to similar data and experiences. I have to wonder if life for someone in San Francisco, or for that matter London, is really that different from life for me in Vancouver. Do they see or read things that are vastly different from what we find here? We all know that our icons and language are becoming increasingly omnipresent. This is wonderful in one respect as it often allows us to share references or shorthand that will be understood by a wider audience. On the other hand, I believe that a more common global landscape is resulting in less original work.

Of course, it’s always possible to achieve the goal of making more original work. We simply have to become less general with the references and language we use. The question that presents however, is in doing so, do we limit the reach of what is ultimately a method of communication?

As we seek the original, it is likely that our language becomes more personal, and therefore reduces our audience to a very small group.

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In some instances this is completely okay; however, the situation in which it is acceptable to exclude so many from a message is generally quite rare.

The occasional campaign intended for a very narrow subculture can of course do this, but few of us work on projects that feature such a specific target.

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DESIGNER'S GUIDE to NEO-FACSIMILES

Why are so many of us chasing the notion of being original and new? Part of this I believe, can be attributed to the weight that our culture puts behind being new or innovative. Few are interested in something that works well, when the promise of something new is present. Of course, this sort of thinking leads us to seemingly preposterous ideas such as disposable razors which incorporate five or six blades.

Additionally, I have to lay some industry-specific blame on the advertising and design awards which our practice holds in such high regard. In some part, I’m always critical of design awards.

Don’t get me wrong, I’d like to receive more of them, but when I peruse design annuals, I can’t help but wonder if they really make any sense at all. Very few of these award shows seem to acknowledge how effective a campaign was, and instead focus on how fun or “clever” the idea is.

This is great, as it makes for very beautiful design annuals, but was that ever really the point of our profession?

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As designers, it is important to remove the ego from the work... We are communicators whose responsibility it is to articulate thoughts more efficiently and persuasively than the untrained.

In order to communicate that capably, we simply must posses a stronger comprehension of many topics than most, as well as a greater visual or “idea� vocabulary than the general public. This of course takes time and dedication to develop; nevertheless, I believe that it is simply necessary, in order to become a good designer.

Designers should always be expanding their knowledge of design, history, popular culture, politics, music, art, social conditions; moreover, we have to try to understand what motivates our own human interaction.

This cumulative knowledge and experience is what helps us build more insightful design. We aspire to be those who can command visual and verbal language in order to articulate a message in the most poignant fashion.

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To accomplish this, we have to know what that crisp shower feels like after a morning run, where we push ourselves to the limit.

We should understand references to Seinfeld and appreciate the cultural importance that musicians like Kanye West have to a new generation.

RESEARCH COMPENDIUM // NEO-FACSIMILES

DESIGNER'S GUIDE to NEO-FACSIMILES

DISCOVERY BY Zuzana Licko

New design is the creation of new meanings; that is, new contexts for typographic possibilities.

However, must be linked to existing ones. Even that design which “pushes the envelope� must build upon existing preconceptions.

For unless a critical portion is understandable, the entire piece will be dismissed as complete nonsense. On the other hand, if no portion of the design is new, then it will appear so uninteresting that it might result in boredom and therefore be equally dismissed. Intriguing consumers with just the right amount of unrecognizable information spurs their interest.

By initiating these changes of meaning, design educates the consumer to the changes in culture. Thus, design is a vet powerful component in controlling our collective consciousness. However, design is also a subconscious process, and it is therefore nearly impossible for a designer to intentionally alter a specific cultural concept.

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This process of reassimilation and adding or changing of meaning with each step creates an environment in our popular culture that is conducive to the assimilation of particular ideas.

As this environment changes, it makes certain ideas ripe, or “ready to be liked.”

In this manner, meanings change, and over time great shifts take place. Since the creation of new meanings usually results in the replacement, displacement or change of older meanings, we may also wonder if some meanings become obsolete. We may ask, “Does obsolescence exist in design, and can we plan obsolescence?”

So, who owns these design discoveries, if we are facilitating their existence through the appropriate contexts? It may be true that all designs exist in the fabric of typographic possibility. However, since not all possibilities can exist at the same time, there must be some way to intelligently choose possibilities that will have meaning; that intelligent force comes from designers.

The discovery of a design possibility is therefore largely a matter of the designer being in the right place at the right time. However, it is the designer’s ability to recognize the opportunity, the talent to apply the idea to a specific creative work, the willingness to sometimes go out on a limb, and the perseverance to convince others that the idea has validity, that deserves claim to ownership. Because, in the end, it is the expertise to communicate new ideas to others that gives credibility to the designer’s existence.

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DESIGNER'S GUIDE to NEO-FACSIMILES

WHY IS ORIGINALITY Howard Tullman

If you’re in sales, you probably know this: Selling something new and different is a lot harder than selling something that’s familiar or something that’s just a little bit different and hopefully better.

Most people are reluctant to try new things. This is probably a lot less true for entrepreneurs, but the vast majority of your potential buyers aren’t going to be entrepreneurs or risk-takers. That means you’ve got to learn to speak their language and put your selling proposition into a framework that they understand, appreciate and are comfortable with.

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DESIGNER'S GUIDE to NEO-FACSIMILES

So where does that leave us? With the simple fact that the decision criteria are not at all what you’d expect them to be. The office managers, not the senior partners, are the real buyers. And in a survey of hundreds of professional office managers (including, but not exclusively, for law firms), the factors which consistently ranked highest had everything to do with keeping the machines up and operating successfully and almost nothing to do with costs.

1.Reliability 2. Copy quality 3. Service 4. Ease of use 5. Price If you asked the office managers about their choices, they would initially offer you really nice clichés such as: “When our copiers are working, our people are working.” But the truth, which always came out sooner or later, was more like, “I want to keep my job,” or, “I don’t want those jerks yelling at me.” Saving money for the firm never even entered into the equation.

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The most successful copier salesmen didn’t pitch price, speed or performance. They focused on stability, security and the ever-golden “silence.”

They aimed their presentations directly at the pain points of the purchaser. That won the day.

The same approach and strategy works in almost any sales situation. You just need to remember five basic propositions:

1. Originality is overrated. Pioneers end up with arrows in their back, and not a whole lot more. Don’t invent. Innovate.

2. Novelty is a nuisance. It means expensive training, a new learning curve, and lots of mistakes. Tried and true trumps all.

3. No one likes to cross the chasm--especially when they are first. Short, sure steps forward, and a lot more of the same, really sell.

4. Don’t tell me how different your product or service is. Tell me how easy and familiar and fail-safe it will be.

5. Analogies are better than apple pie. Show me anything I’m doing now and then tell me not how different things will be, but how much the same they will remain.

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In the movie business, they call this process “high concept.” You give me a snapshot that tells me all I need to know. Like using the latest slick and suave incarnation of Justin Timberlake to play the Frank Sinatra role in remakes of any classic Sinatra films. Says it all. I don’t have to love the idea to understand exactly what you’re telling me.

Or having Tom Hanks play the Jimmy Stewart roles in anything except “It’s a Wonderful Life.”

You get the picture.

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DESIGNER'S GUIDE to NEO-FACSIMILES

THE MYTH OF ORIGINALITY AND Adrian Shaugnessy

“You Shall not copy!” You are all told, since school. But why not? And actually how can we do that? Or rather avoid doing it? How can we be sure we are not copying, when the very notion of learning is based on a mimetic process?

Originality isn’t all its cracked up to be. For a start, it doesn’t really exist.

The idea that something can be said to be truly original is laughable.

There is no immaculate conception. Everything comes from somewhere else. Everything contains elements of something else. If we were ever to be confronted with an artefact or an idea that was genuinely original, we wouldn.t be able to see it or understand it. We wuoldn’t have any reference points with which to identify it.

If originality is illusionary why then it is so highly prized – especially in the realm of commercial art and design? This is odd, because nearly all illustration, branding, advertising, typography, etc. is about communication, and if we want to communicate, we have to use recognizable symbols, words and visual tropes. Even when we want to shock or make statements that are mysterious or enigmatic, we do so by blending visual elements and language in unexpected ways – in other words, we appropriate – but in truth, we are really copying.

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DESIGNER'S GUIDE to NEO-FACSIMILES

To be guilty of copying in the commercial realsms is about the most heinous crime a creative person can commit. Copying and plagiarism are generally regarded as bad, which in turn, forces designers to strive endlessy to be original. This is done with noble intentions. But it is futile and based on a flase understanding of originality and a flase understanding of originality as well as the role of copying.

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I AM A Micheal Bierut

Kurt Andersen, claimed that “Plagiarists almost never simply confess. There are always mitigating circumstances.” In response to that statement, Micheal Bierut claims: “I am a plagiarist.”

He was asked by a longtime client, the Yale School of Architecture, to design a poster for a symposium they were organizing. His solution was very similar to something almost 30 years ago, a piece by a designer, Willi Kunz.

There are differences, of course: Kunz’s type goes from small to big, and Bierut’s goes the other way around; Kunz’s horizontal lines change size, and Bierut do not; and, naturally, Kunz uses Akzidenz Grotesk, rather than a typeface that wouldn’t be invented until 2002. But still, the black on white, the change in typographic scale, the underscores: all these add up to two solutions that look more alike than different.

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He didn’t realize this until a few weeks ago, when he was looking through the newlypublished fourth edition of Phil Meggs’s History of Graphic Design. And there it was, on page 476, a reproduction of Willi Kunz’s abstract letterpress exploration from 1975. He recognized it immediately as something He had seen in my design school days. More recently, it was reproduced in Kunz’s Typography: Macroand Microaesthetics, published just two years ago, a copy of which he own.

In his excuse when being accused of plagiarism: He saw something, stored it in my memory, forgot where it came from, and pulled it out later — much later — when he needed it. Unlike some plagiarists, he didn’t make changes to cover my tracks.

“I find all of this rather scary. I don’t claim to have a photographic memory, but my mind is stuffed full of graphic design, graphic design done by other people.

How can I be sure that any idea that comes out of that same mind is absolutely my own?” The challenge is even more pronounced in design, where we manipulate more generalized visual forms rather than specific sequences of words.

In the end, accusations of plagiarism are notoriously subjective, and some people who have seen his piece and Kunz’s side by side have said they’re quite different.

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IS ORIGINALITY

Attitude Design UK

Originality in a Visual Sense I think people get confused between art and design. Art is a personal expression of something and doesn’t have to have a purpose at all other than to express that personal view. Design on the other hand is purposeful. Ultimately we design for other people, not to express what we, ourselves feel. We design for these people so they can make money.

We have to play the mediator between the client and their consumers, using our skills in the best possible way to communicate the messages that will help sell products or services.

The point is this - if we are too original in our work a) our clients won’t buy it and b) if our clients did buy it their consumers won’t buy it. The end result is no money and no clients.

However again if we simply copy styles then we will then be done for stealing - again the end result is not good. Mike Davidson has an interesting post on this written in 2005 called Originality in Logo Design.

His article highlights the issues of attempting to be original in logo design and it seems to me, he eventually comes to the conclusion that it is virtually impossible to be completely original in a design.

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So my view on this is that as a designer you need to stay up to date with current trends. You need to understand what is generally acceptable and what has been done before. Within these boundaries (which you can push from time to time) you make a stab at a design. I always bear the end consumer in mind and have had to admit that sometimes radical designs do not always fit the brief. Everything should have a purpose behind it - we are designers not artists.

Originality in a Conceptual Sense The place where one can be completely original is in the concept behind the design. What I’m talking about here is the reasoning behind shooting ‘that image’ in ‘that way’. The reason behind using ‘that graphic’ or ‘this wording’.

Basically the reason behind communicating the key messages visually and how to accomplish that. For example take a look at this for a concept from Yo Brands USA. The styling has been done before many times but the concept is what makes this site communicate its key selling points. It is original and effective. Also read this article The Rise of the Design Concept. The styling of the websites in the article is nothing new - but the concepts are.

This area is, in my view, what makes a great designer. Communicating on a deep level with your audience. Keep the style simple but the concept clever and you’ll be a winner.

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CREATIVE PROCESS

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IDEATION

DEVELOPMENTS

EVALUATION

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PROJECT What motivates this project?

This project was inspired by Creative Commons and the project on Ethics.

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Since this project aims to challenge the point of view of originality in design among student designers and practicing designers. In this present moment, most designers are obsessed with originality by taking authorship of their work.

Their profound situated anxiety has inspired a development in a design that values origination of substance over manipulation of substance.

This is when imitation or, plagiarism surfaces and it is always regarded as a negative factor in many fields of design because it insults originality. As we progress and seek for the better and new, ideas have been unknowingly reused and recycled.

Inspirations can be taken from anywhere. Art or even design is a series of influences layered upon another and we have to learn to embrace it. Yet underlining how individuals build up their predictable thoughts these days through copy, transform and combine.

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RESEARCH

Creative Commons (CC) is a non-profit organization devoted to expanding the range of creative works available for others to build upon legally and to share.

The organization has released several copyright-licenses known as Creative Commons licenses free of charge to the public. These licenses allow creators to communicate which rights they reserve, and which rights they waive for the benefit of recipients or other creators.

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An easy-to-understand one-page explanation of rights, with associated visual symbols, explains the specifics of each Creative Commons license. Creative Commons licenses do not replace copyright, but are based upon it. They replace individual negotiations for specific rights between copyright owner (licensor) and licensee, which are necessary under an "all rights reserved" copyright management, with a "some rights reserved" management employing standardized licenses for re-use cases where no commercial compensation is sought by the copyright owner.

The result is an agile, lowoverhead and low-cost copyrightmanagement regime, profiting both copyright owners and licensees.

Wikipedia uses one of these licenses.

The organization was founded in 2001 by Lawrence Lessig, Hal Abelson, and Eric Eldred with the support of Center for the Public Domain. The first article in a general interest publication about Creative Commons, written by Hal Plotkin, was published in February 2002.

The first set of copyright licenses was released in December 2002.

The founding management team that developed the licenses and built the Creative Commons infrastructure as we know it today included Molly Shaffer Van Houweling, Glenn Otis Brown,

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Neeru Paharia, and Ben Adida.

Matthew Haughey and Aaron Swartz also played a significant role in the early stages of the project.

As of November 2014 there were an estimated 880 million works licensed under the various Creative Commons licenses. As of March 2015, Flickr alone hosts over 306 million Creative Commons licensed photos. Creative Commons is governed by a board of directors.

Their licenses have been embraced by many as a way for creators to take control of how they choose to share their copyrighted works.

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Creative Commons has been described as being at the forefront of the copyleft movement, which seeks to support the building of a richer public domain by providing an alternative to the automatic "all rights reserved" copyright, and has been dubbed "some rights reserved." David Berry and Giles Moss have credited Creative Commons with generating interest in the issue of intellectual property and contributing to the re-thinking of the role of the "commons" in the "information age". Beyond that, Creative Commons has provided "institutional, practical and legal support for individuals and groups wishing to experiment and communicate with culture more freely."

Creative Commons attempts to counter what Lawrence Lessig, founder of Creative Commons, considers to be a dominant and increasingly restrictive permission culture. Lessig describes this as "a culture in which creators get to create only with the permission of the powerful, or of creators from the past". Lessig maintains that modern culture is dominated by traditional content distributors in order to maintain and strengthen their monopolies on cultural products such as popular music and popular cinema, and that Creative Commons can provide alternatives to these restrictions.

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Creative commons issues out "liscences" to creators whenever they want to publicize their work online and they are allowed to select within their some rights reserved policy.

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How it motivates me?

My aim is somewhat aligned to Creative Commons aims that is to allow an open-source opprotunity through copying with design practices. Thus, elevating design outcomes to better perspectives a a form of cultural shift in the design practices in LASALLE. However, it is not within my capabilities to issue out liscences to student designers.

This, will still serve its purpose to fuel my project direction.

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IDEATION Source of inspiration Creative Commons

What inspires me?

Sharing of liscences Copy left movement Some Rights Reserved

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What are my plans?

Educating the viewers Create a portal for sharing ideas

Get students to believe in my project But how should it be done?

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REFLECTION As I walk around the studio, i stumbled upon David Goh's Ethics for the Starving Designer's manifesto.

Then the idea strucked me to persue a manifesto.

How? Since I wanted to gather people to join me in a sharing community, I've decided to input one step before my goal; to gather people to agree to pledge to my manifesto.

Why? Since I wanted it to be something that they can believe in and that is the freedom to steal ideas.

And so I've decided to look into his project.

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What is it?

A collaborative manifesto that aims to define a code of ethics for Singaporean visual communicators. It is designed to be useful, practical and universally acceptable - realistic in usage regardless of the person's professional situation.

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Professions such as lawyers and doctors have gone a long way in defining their own code of ethics. With the meteoric rise of commercial visual communication, coupled with evidence of how these visual messages can intrinsically affect the youth of our society, it is of utmost importance that a code of ethics be defined for the profession of graphic designers. Defining a code of ethics for graphic designers can no longer be argued to be a superfluous thing or a pursuit of the moralistic. It has become a must - a necessity - if design is to be seen as a responsible profession.

“Ethics for the Starving Designer” is a student’s attempt at improving the situation in a local context. Its intentions are as follows: to cover the common ethical considerations faced by Singaporean visual communicators in upholding their social, environmental, professional and personal responsibilities.

To approach the responsibilities of a visual communicator with utmost respect to their needs and limitations regardless of their professional situations, and to be universally applicable across major philosophical, religious and personal systems of beliefs seen locally.

This does not claim to be the absolute solution to the mentioned problems - far from it, it wishes to simply be a starting point. In many ways, this manifesto is a highly personal project: but if you would like to take the same path that I am embarking on, I invite you to put your signature beside mine at the end of this document.

As acknowledged at the bottom, this manifesto has seen contributions and input from a total of 46 people locally and internationally, consisting professional designers, educators, students and writers.

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Aims

IDEATION

E VA LUAT I O N Drawing out useful key points to direct this project.

Where has the project lead me to?

Key points that inspire me to appropriate from my research in order to produce my project.

Having to collect useful insights from Creative Commons and Ethics from the starving designer and filtering it down to directing my project outcome.

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• • •

Creative Commons

Ethics for the Starving Designer

AIMS

AIMS

Copyleft movemet Some rights reserved Devoted to expanding the range of creative works for others to build upon legally and to share

• • •

Manifesto approach Ethical and moral concerns Gathering people to pledge to conform to his statement

How Will This Contribute to my Project?

Formulating Content

•

Art Direction

Having to let peers copy each other and share their works for "copying" at the same time

• • •

Write a manifesto on why copying is good Redefine the pressure of being original Having my peers, student, lectureres and designers to pledge to

Main Deliverable: Exhibiting the Manifesto!!

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RESEARCH I've decided to read up on 100 artist's manifestos by Alex Danchev

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FIRST THING We, the undersigned, are graphic designers, art directors and visual communicators who have been raised in a world in which the techniques and apparatus of advertising have persistently been presented to us as the most lucrative, effective and desirable use of our talents. Many design teachers and mentors promote this belief; the market rewards it; a tide of books and publications reinforces it.

Encouraged in this direction, designers then apply their skill and imagination to sell dog biscuits, designer coffee, diamonds, detergents, hair gel, cigarettes, credit cards, sneakers, butt toners, light beer and heavy- duty recreational vehicles. Commercial work has always paid the bills, but many graphic designers have now let it become, in large measure, what graphic designers do. This, in turn, is how the world perceives design. The profession’s time and energy is used up manufacturing demand for things that are inessential at best.

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Many of us have grown increasingly uncomfortable with this view of design. Designers who devote their efforts primarily to advertising, marketing and brand development are supporting, and implicitly endorsing, a mental environment so saturated with commercial messages that it is changing the very way citizen-consumers speak, think, feel, respond and interact. To some extent we are all helping draft a reductive and immeasurably harmful code of public discourse.

There are pursuits more worthy of our problem-solving skills.

Unprecedented environmental, social and cultural crises demand our attention. Many cultural interventions, social marketing campaigns, books, magazines, exhibitions, educational tools, television programs, films, charitable causes and other information design projects urgently require our expertise and help.

We propose a reversal of priorities in favor of more useful, lasting and democratic forms of communication - a mindshift away from product marketing and toward the exploration and production of a new kind of meaning. The scope of debate is shrinking; it must expand.

Consumerism is running uncontested; it must be challenged by other perspectives expressed, in part, through the visual languages and resources of design.

In 1964, 22 visual communicators signed the original call for our skills to be put to worthwhile use. With the explosive growth of global commercial culture, their message has only grown more urgent. Today, we renew their manifesto in expectation that no more decades will pass before it is taken to heart.

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REFLECTION I was very intrigued by how manifestos were written. Most of them are very strong on their opinions and sometimes vulgar too.

All of which were written in such a way to make people believe in it.

And so it got me motivated to write my own.

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It came to me that since my manifesto is about appropriation, I've decided to steal quotes from all of my research to form my own manifesto.

RIGID

RIGID

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VISUAL

ART DIRECTION Drawing reference from online research to curate an exhibition space.

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REFLECTION I came to realized that manifestos are just all about text. The art direction are mostly text heavy. And so I've deviated my search towards typography design.

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DEVELOPMENTS

The reason why I've decided to persue with this art direction is because I wanted something modern for my project and the context of this manifesto is for the FUTURE. Therefore, I decided to have a trendy and modern look.

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This took me about painfully 6 hours to get it done.

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REFLECTION I've decided to put it up on the wall by using vinyl sticker.

REASON To project a seriousness to this manifesto. A wall to me is something that is firm. And when something is up on the wall it shows seriousness.

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And so this is the final look.

I was glad it turned out as expect. I was not very confident then during the application process.

Thanks to many friends who struggled with me and also Botak for making this affordable for a broke student.

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PROJECT

Now that I have my Manifesto done, it creates new manifestation for other project deliverables.

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MANIFESTO

CONTRACT FORM MOTION GRAPHIC VIDEO CASE STUDY BOOK ARTICLES OPINION BOOK PEER'S OPINION BOOK MY OPINION BOOK WEB PORTAL

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CONTRACT A N A LY S I S

What is a manifesto without a pledging/signing?

That was the inquiry I've been asking myself.

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CONTRACT E VA LUAT I O N So I've decided to design a simple contract form for my viewers to sign off my manifesto.

There wasn't much of visual references out there for me to derive from though.

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MOTION A N A LY S I S The reason why I've decided to do up a video is that it can be viewed with ease of access.

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VISUAL

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The thing is, there are so many styles out there. It was hard to decide on which style will be easy to work with.

So I've decided to use icon design in a form of utlines, (since its modern) and animate them.

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DEVELOPMENTS

There are two things I need to make my video work.

A story board.

A script for voice over.

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These words are not my own.

They are all derivates from my research and I quoted them to form my own sentences.

Originality, is something that’s considered to be an illusion.

Yet everything in this world remains to be created, or to be recreated better.

The greatest canvas has to be yet painted.

The perfect song is not yet sung.

Creations are constantly revised. while wings are made possible, and cities continue to rise.

There’s a saying, “He’s most original who adapts from the most sources”.

So originality comes from making connections.

Seeing patterns where others see chaos.

Adapting on existing ideas, and making better improvements.

Because everything is a remix.

It's a mashup of colours, producing a whirlwind of visuals.

Its self-expression by adding yourself, to the equation.

Strive for innovation.

But don't fear inspiration, And to fight it, is to step out from your comfort zone.

Advance through appropriation.

From films, music and books.

Steal from random conversations, Adapt technology and appreciate nature, Exploit lights, and envision shadows.

Celebrate and honour your inspiration.

Because what we see, we remember what we remember, we apply.

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Here is the script.

DEVELOPMENTS

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MOTION E VA LUAT I O N

Overall it was a tedious process since I am inexperience in the field of media design.

However, I was satisfied at how the video turned out to be.

I've received good feedbacks regarding this as they find it engaging and the message was clear.

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CASE STUDY A N A LY S I S

I feel that in order for my viewers to understand my project, it is important to highlight to them the causes of the current issues.

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IDEATION

I was thinking to make the book a little more interesting by breaking down into different topics and sections.

REASON To give a clear and direct understang for the issues within different field and levels.

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CASE STUDY BOOKLET

ARTICLES REGARDING THE ISSUES AND CAUSES

CASE STUDY FROM PROFESSIONALS

CASE STUDY FROM MY PEERS

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VISUAL

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Yet again, I was looking for something modern and i find this style trending.

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As for the book within my peer's case studies, I've decided to take a different approach.

I wanted to lay their visual reference alongside their work to create a comparison.

When I stumbled upon this, it gave me an idea to print on transparency in order to acheve my goal.

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CASE STUDY E VA LUAT I O N

The result turns out to be very sucessful.

However, not all of the works were presented in such a way.

I've only selected a few so it will break the consistency.

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The book turns out to be a sucess. Many of my peers feedback said that the book looks trendy and modern.

However they suggested me to secure the spine since the book is a lil' bit floppy.

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CASE STUDY E VA LUAT I O N

Having done with the case study book, I've realized that i need to take into consideration on my peer's opinion on originality.

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CASE STUDY FOLLOW UP

Thus, I've decided to make small card with the starting sentence ORIGINALITY IS...

This was done in order to let them write freely about their perception on originality.

On top of that, I've produced one more book based on my methodology from my thesis research to show statistics results from my survey.

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Opinion card

Methodology Booklet

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WEB A N A LY S I S Since my main goal is to get a collective amount of people to share ideas, I've decided to create a web portal for pledges to post ideas.

This was done by using padlets.

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IDEATION Purpose of the portal: To get as many designers to participate in sharing of ideas.

Aims: To ensure that participants will want to revist the portal to look up for references

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DESIGNERS TO SIGN MANIFESTO

ACCESS WEB PORTAL

UPLOAD WORKS, IDEAS, INSPIRATION

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DEVELOPMENTS

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As you can see the participants uploaded images of their works as a source of inspiration to others to steal from.

The portal is accessible and easy to use. Meaning that the participants can just drag-anddrop ideas with ease.

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WEB E VA LUAT I O N After creating the web portal, I feel that it should be embeded to a main website for NeoFacsimiles.

Therefore, a simle microsite was created to add a little more information to the project.

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PLANNING AND

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SETUP BY

Curation of works plays a huge role in my assessments.

Therefore, each projects was carefully planned out to set a streamline flow.

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STUDIO WORKS

SPACE

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IDEATION

I was given 3 panels to set up my works. Having so, I had to plan carefully on how I want to segregate my works apart YET conveying a message.

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PANEL 1

PANEL 2

Introduction to the area of research interest.

My stand and approach to the topic

Highlighting the issues and causes.

My opinion and reflections on the articles.

Case studies.

Articles from writers and with their opinions.

Opinion from my peers.

In summary, this panel reflects on people's perception to my topic.

Introduction to Neo-Facsimiles Response video In short, this panels speaks from my perception of the topic.

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PANEL 3

Response outcome Projecting my take on this topic Embodying the research topic Gathering people to pledge to my manifesto.

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VISUAL

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IDEATION COMPONENTS: Panel 1 - Intro, case study booklet - Voting cards, peer's opinion book Panel 2 - Motion Graphics, Website - My opinion booklets - Contract form Panel 3 - Manifesto

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A speculation of how my setup is going to turn out.

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Adair, J., 2007. The art of creative thinking : how to develop your powers of innovation and creativity. 2nd ed. Great Britain: Kogan Page Limited.

Boon, M., 2013. In Praise of Copying. First Harvard University Press ed. United States of America: Library of Congress Cataloging-in-Publication Data.

Boon, W., 2014. Defining Creativity: The Art and Science of Great Ideas. 1st ed.

Amsterdam: BIS Publishers.

Boden, M. A., 2004. The creative mind: myths and mechanisms. 2nd ed. 11 New Fetter Lane, London EC4P 4EE: Routledge Taylor & Francis Group.

Craig, W., 2014. Why Creativity Isn't All About Originality? Forbes. [Online] Available at: http (Zhuang, 2014) (Zhuang, 2014)://www.forbes.com/sites/ eshachhabra/2015/10/30/this-small-business-is-paying-its-employees-twice-theminimum-wage-or-a-poverty-wage/ [Accessed 17 September 2015].

Cullinane, K., 2013. The Original Paradox: Or the value of creating new designs vs. being original. The Designer Observer Grop. [Online] Available at: http://designobserver.com/feature/the-original-paradox/37733 [Accessed 17 September 2015].

Dunn, A., 2011. Question Everything: Shepard Fairey on His Influences, His Legal Battle with AP, and Being a Sellout. Huffington Post. [Online] Available at: http://www.huffingtonpost.com/adriana-dunn/question-everythingshepa_b_284265.html [Accessed 17 September 2015].

Ferguson. K. (2010). Everything is a Remix Part 1. [Online Video]. 27 October. Available from: https://www.youtube.com/watch?v=NmwwjikTHxw. [Accessed: 17 October 2015].

Ho, H., 2015. Word By Word We Build Ourselves: 55 Commonly Used Words In The Design Office Of H55. 1st ed. Singapore: s.n.

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