Design for Good

DESIGN for good.

CONTENTS

6 10 16 26 32

INTRODUCTION creation of the book and colophon

THE OPINION on the power of social design

THE RESEARCH closer look at designers power to promote social change

REFLECTIONS on the importance of solving problems with design

REFERENCES research paper and reflection sources

colophon This book was produced using Blurb and designed and written by Ellie Kestner in November 2019 Body and references text consists of Public Sans, weight: thin, 9/11.4.

Designed by USWDS Header text consists of various sizes of Bourban Grotesque, weight: regular.

Designed by Jeremy Vessey Reference text consists of Minion Pro, weight: italics, 7/8.

Designed by Robert Slimbach

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intro This book is composed of short essays that reflect on the positive impact social design has on non-corporate, under-resourced, and mission driven organizations and communities. The text explores how these design practices foster a space for new perspective, deeper understanding, and social change. Enjoy.

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OPIN

Nion

Our voice is one of the most powerful tools we have as human beings.

Communication is what allows us to break down barriers, make connections, and see from a new perspective. Speaking is not the only form of communication, however.

Useful, honest, and innovative design can convey complex ideas in a simplified way.

Designers can use their artistic abilities and creative mindset to envision and create ideas that push for positive social change.

Unfortunately, very few recognize or take advantage of opportunities due to the unforgiving work environment they may be trapped in. Their lack of support plays a role in upholding hatred and injustice. If more designers applied their skills, time, and energy to underrepresented communities and small businesses they could help build more inclusive and aware communities while simultaneously developing their own happiness and perspective.

Work is something most people don’t enjoy. I seldom meet people who are truly excited to wake up and work from nine to five, Monday through Friday. It’s a vicious cycle that leaves us feeling defeated and unmotivated, but it’s something we have to do. Maybe the reasoning behind this cycle isn’t based on the amount of time we spend working but rather the job we are actually doing and the purpose behind it.

Does it fill our needs and wants? Is it benefitting more than ourselves and the company? Are we using our skills to promote good in our surroundings? These are just a few questions we can ask ourselves when evaluating our jobs. Maybe if more people applied their skills towards the benefit of those who need them they would feel more motivated to work and truly put forward their best effort in doing so.

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As I mentioned before, designers have the ability to communicate diverse ideas in a variety of creative and artistic ways. I believe this is one of the most valuable skills a designer has because it opens the door to communicate complicated ideas most people don’t like to talk about.

Among these obstacles are climate change, poverty, racial inequality, and so much more. There are a plethora of opportunities to design for good but a lack of interest to do so. However, I am convinced that if designers took on these problems they would grow to be more passionate and motivated in their work. Designing for good can be seen on a variety of platforms, ranging from large to small.

On a large scale, design for good can be identified in nation-wide movements.

Black Lives Matter is a prime example of using design as a method to advocate for an under-represented population. The movement gains much of its power from not only those leading it but also through its strong brand reputation.

Design Action Collective is the worker-owned cooperative that produced their pervasive logo and overall aesthetic.

Through design the movement is able to convey strength, assertiveness, and unification. One of the most important pieces the designers considered when developing the logo was the ability to reproduce it in an affordable and time sensitive manner, giving meaning behind the simple structure and look of the logo. Aside from the leaders and supporters of this movement, the impressive and meaningful design behind it also upholds its credibility.

Although the design team helped in establishing an iconic logo for an iconic movement, the real reward was gaining new perspective on a prevalent and pressing issue and gaining the ability to share their insights with others.

I. Black Lives Matter sticker found on a subway sign in Manhattann, NY Photographed

by Danny G.

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INCLUSIVITY

Designing for good can be equally beneficial on a smaller scale. One of my favorite clothing companies, Outdoor Voices, is a small recreational outerwear company whose mission is “to get the world moving” by promoting exercise through a variety of forms. From my perspective, a large reason for their success comes from their design strategy. Their branding is simple, playful, and easily understandable. Furthermore, they design clothes that are ethically and sustainably sourced and made for all people, regardless of size and abilities.

Outdoor Voices is a brand people are drawn to and feel safe with which explains why people keep coming back to it. This may not be the case if it weren’t for designers who are deeply passionate about what the company stands for. In working for a company like Outdoor Voices designers can contribute their skills to promoting a more sustainable, ethical, and diverse world.

As a student I look for ways I can design for a cause that will broaden my horizons. Giving back to the community has always been a passion of mine which initially sparked my interest in “designing for good” and the meaning behind it. I recently started working for a freelance designer who mainly works with nonprofits, her biggest client being the American Kidney

II. Outdoor Voices Cotton Campaign

Fund. In working with her I’ve come to learn a lot about a community I previously had no knowledge on. I feel much more compelled to put in my best effort knowing my designs will benefit people who need it.

I thrive off of this feeling and wish more people could experience it. Through my work I’ve developed a deeper understanding of the importance of design as a tool in communicating with people different from myself. I’ve come to realize how valuable my skills as a designer are and how I can use them to promote postive social change (on a small scale for now).

Now imagine how different the world would be if designers stepped up to the plate and started using their power for good. Our society would be unrecognizable. I firmly believe designers have what it takes to knock down the barriers surrounding positive social change, but they must be willing to do so. Pairing with empowering movements and businesses are just a few ways in which designers can contribute good to the world around them.

We have a special gift of easily communicating with the rest of the world, now it’s time we use it.

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resea

arch

DESIGNERS HARNESS THE POWER TO PROMOTE POSTIVE SOCIETAL CHANGE.

The idea of design as a form of activism is often an afterthought to its’ role in corporate settings. To move towards a more viable society, the role of design must be questioned and changed. The high success levels of radical social movements, brands, and campaigns would not be feasible without functional design. Through highlighting various opportunities that uphold a design for good ethos it will be evident that utilitarian design is necessary for the development of a socially stable society.

Design’s role in society has shifted over the centuries yet has always played a pivotal role in human history. Design shapes the world, no matter how simple or complex an idea or creation may be. In 3500 B.C. the design of the wheel emerged. An example of a straightforward and meaningful idea that completely shifted the abilities of humanity for the better.

Designers have since built off this transparent foundation, altering the perspective of design and its’ intentions. American architect, Harold Nelson, describes the great potential of design activities from both a positive and negative perspective, “Design activities can do and have done great harm and have done great service for humanity. We cannot know for certain, that what we design is what ought to be designed. We cannot know what the unintended consequences of a design will be, and we cannot know, ahead of time, the full, systemic effects of a design implementation” (2003, p. 10).

Moving into an age of mass production the power of design has become an extremely prevalent tool in shaping society. Its’ effects are obvious in advertising design, with a foundation that lies in “persuading people to buy things they don’t need, with 16.

money they don’t have, to impress others who don’t care...” (Papanek, 1972, p. 14).

Although Papanek offers a harsh perspective on this form of design he truly exposes the reality of its’ core and its’ influence.

Industrial design holds the same level of control on society in creating a product that lacks transparency, trapping consumers into wrongful beliefs. Papanek states that designers are a “dangerous breed” as they can “create a whole new species of permanent garbage to clutter up the landscape and choose materials and processes that pollute the air we breathe (1972, p.14). These examples only begin to skim the surface of a designer’s capabilities yet continue to be extremely relevant in today’s world.

The importance of graphic design in promoting commerce is still relevant, yet social communication has taken precedent in acting as a central challenge to designers. The expertise of persuasion is highly developed amongst the design community, however, the use of persuasion in promoting positive social change is lacking, and it shows (Resnick, 2016, p.15). The social challenges that have taken precedent in society come from poor behavior that is reinforced by wrongful intention, therefore allowing design that supports dangerous normalization and instability. In means of correcting issues such as climate change and racial inequality, behavioral change must advance. However daunting this idea may be, designers harness the power to face these social issues head-on.

III. Trump Protest photographed by AJ Colores

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The lack of social responsibility by designers derives from the unrelenting and economically vicious cycle of design education. Elizabeth Resnick challenges this stigma in teaching her students that “designers have both a social and moral responsibility to use their visual language training to address societal issues either within or in addition to their professional design practice” (2016, p. 12).

Furthermore, the definition of design needs to be identified in a broader light.

The general public typically only identifies design with aesthetics, trends, and styles rather than seeing its potential to “change, improve, renew, inspire, involve, disrupt, and help solve the “wicked” problems of the world” (2016, p.12).

The practice of social design - the art of design where the primary motivation is to promote positive social change within society - has become increasingly relevant in recent years and proves to be a significant factor in the success of various social movements. However, this process is far more dynamic than simply designing a brochure for a non-profit. It requires the ability to identify a problem, target objectives and audiences, research, and implement design thinking and strategy into problem-solving (Resnick, 2016, p.16).

IV. Excerpted from Signs of Resistance by Bonnie Siegler (Artisan Books). Copyright © 2018. The Dirty Linen Corp., publisher, F*ck the Draft, 1968.

V. Excerpted from Signs of Resistance by Bonnie Siegler (Artisan Books). Copyright © 2018.

Bonnie Siegler, a New York-based graphic designer, is a well-respected member of the social design community due to her deep understanding of the complex process of social design. Her passion for social change is evident in her work for both of Obama’s campaigns and Hillary Clinton’s 2016 campaign. In an interview with 99U, Siegler compares the successes of certain political movements throughout time, specifically in examining the design of protest posters. She highlights the great success of the “fuck the draft” poster used in protesting the Vietnam war. The designer was able to fully capture the feeling of doubt and fear many young men experienced in only using three words and an image.

The Suffragettes, on the other hand, struggled to gain momentum in protesting with posters filled with type. Not until they developed a simpler “brand” were their ideas truly heard (Ludolph, 2018). For social movements to gain power designers must be at the forefront of the movement.

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Powerful and inspiring examples of social design in today’s world can be observed in the work of Design Action Collective - a 13 member, worker-owned cooperative that creates imagery solely for grassroots organizations and activist campaigns (Morley, 2017). They’ve worked with hundreds of clients, one of their biggest being Black Lives Matter. Large-scale activism often presents itself with difficulties as many voices need to be negotiated. The group describes the challenges as so, “Presenting a strong and unified visual message, and one that isn’t convoluted or watered down with all the information is the challenge. Facts can be found on a website.

The poster, social media graphic, or homepage, therefore, needs to strike to the heart immediately, and have legibility or usability that can be easily understood, or that challenges assumptions and creates psychic breaks for people” (Morley, 2017).

One of the most important factors they consider when working with clients is time. For the most part, an organization’s design needs are mostly unplanned but they need to be intentional. Design Action Collective highlights the importance of being prepared for rapid response. They are constantly reshuffling their schedules to accommodate the latest crisis, which in these times, is happening at an insanely fast rate (Morley, 2017).

This aspect of the process was highly considered when developing the Black Lives Matter logo, “as an open-source, high-contrast type logo, it’s easily reproduced with a desktop printer or photocopier, which is key for its need to be quickly, cheaply, and widely distributed” (Morley, 2017). In analyzing every part of the design process, Design Action Collective has been able to inspire millions.

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Social Design can also be seen on a much broader scale. The outdoor apparel company, Patagonia, is a prime example of this idea.

The success of their business is heavily based in the fields of industrial and advertising design, however, their foundation is deeply rooted in transparency, developing a deep bond of mutual trust between themselves and their customers.

They live by their core values, “build the best product, cause no unnecessary harm, use business to protect nature, not bound by convention”, and it is evident in the way they create. Their main reason for being derived from the belief that all life on earth is under threat of extinction, and is why they use their business, investments, voices, and imaginations to do something about it (Patagonia, 2019). Patagonia has found the perfect balance in serving its consumers while also fulfilling their implicit duties to society.

Patagonia lives out their mission in the way they design their products, advertisements, and other programs. An excerpt from Victor Margolin’s essay in Developing Citizen Designers highlights the importance of designers entering new social situations, where they can learn to articulate communication. In specific, product designers should learn to adapt to certain situations to figure out what people need to know to function successfully in them (2011, p.14).

Eric Rice, Patagonia’s head apparel designer of 22 years, knew that to stay passionate about his work he had to love the products he was designing (Zax, 2014).

Eric’s deep passion for the outdoors and knowledge of his consumer base has inspired him to develop eco-friendly products that are perfectly tailored for each consumer.

Patagonia’s Worn Wear program is another way the company implements social design into their business platform. According to its website, “the program provides significant resources for responsible care, repair, reuse and resale, and recycling at the end of a garment’s life” (Patagonia, 2019).

The most important process considered when developing this program was the design of the user experience. To create a program consumer found meaningful and relevant, communication, empathy, and ease of use had to be carefully considered.

On the other hand, graphic designers had the task of developing a brand aesthetic that would be consistent with Patagonia’s current branding and message. The use of typography, the organization of information, and the creation of logotypes and symbols had to be developed in a functional and precise manner (Margolin, 2011, p. 15). With over 50,000 repairs made each year, it is safe to say the Worn Wear program has been a major success. In an article found in Mountain Culture magazine, Lisa Richardson, a lifestyle and ski journalist, expressed her deep appreciation for the program, “Patagonia’s Worn Wear program has validated this sheepish feeling I’ve had that my worn-in clothes are actually good enough to wear to work, not just to garden in; that dressing my kid in second hand clothes is absolutely fine; that the planet counts and what I put in my shopping basket matters” (2017).

Thanks to functional design, Patagonia’s Worn Wear program can help shape a positive future for people and the planet.

VI. Patagonia Worn Wear worker fixing garnments

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functional

promote

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There are thousands of opportunities available for designers of all trades and levels to use their skills for the betterment of society. AIGA, the American Institute of Graphic Arts, supports designers who wish to work in this area by offering tools to build their practice, expand their network, and have hands-on leadership opportunities.

The group’s “Design for Good” programs, Design for Democracy, Diversity and Inclusion, Women Lead, and Design for Communities, sustains designers’ roles in creating positive social impact, no matter how big or small (AIGA, 2019).

Each program is based on a simple, clear premise. Design for Democracy, for instance, is rooted in the belief that good design makes choices clearer. The initiative started in 1998 in means of increasing civic participation, especially in Latino communities, by making interactions between the U.S. government and its citizens more understandable, efficient, and trustworthy, through the power of design (AIGA, 2019). Creators of all backgrounds have the opportunity to submit unbiased posters, stickers, pins, and other promotional materials to motivate civic engagement. Results from the 2016 election show that voter turn-out in Latino Communities was at a record high of 27.3 million vot-

VII. Design for Democracy submission by Kevin Garrison

ers, up to four million from four years ago, proving that design makes ideas, people, and places more visible (AIGA, 2019). AIGA’s “Design for Good” programs are just one of many ways designers can use their knowledge to create change in their communities.

Design exerts a huge influence over the way people carry out their lives. It shapes a path that leads to different opportunities, insights, and beliefs. In short, designers have more power than anyone, including themselves, realize. Author and designer David Berman upholds the belief that “designers creativity fuels the most efficient (and most destructive) tools of deception in human history” (Berman, 2009, pg. 2).

This statement has proven to be accurate through the integration of social design in business models, and just as importantly, the lack thereof (Powell, 2014, pg. 1 ). The increasing severity of complex global issues has sparked designers to use their skills for good.

The success of establishments such as Design Action Collective, Patagonia, and AIGA are key examples of the inherent power that design possesses in our society. The power to repair, advance, and ultimately, make the world a better place.

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refl

lect

01 limitations In reading an excerpt from David Barringer’s essay “American Mutt Barks in the Yard” I came to a deeper understanding of the limitations we face in our daily tasks as designers and how creativity can be found in restricting environments. Barringer highlights the similarities of an actor’s job and a designer’s ; The foundation of both professions is based on taking specific direction from a client. Yet, it is crucial they also satisfy their own aesthetic needs and desires in order to

make something their own.

Although this can be difficult in some circumstances, Barringer believes it is important to fully embody the point of view from which we design from. He places emphasis on making choices that define our “priorities, loyalties, and hopes” because it allows us to find our own unique style, even when designing for someone else. In following these choices to our closest truth, passion, desire, and creativity can bloom, regardless of the circumstances.

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02

sustainability

After further exploring some of my essay topics in class today I felt most drawn to my interest in sustainability and its’ presence in the design community. This topic has become extremely relevant in recent years due to the pressing effects of climate change and how its reflected on social media. I recently came across an article on minnesotabusiness.com that focuses on “environmentally correct advertising” by highlighting the Ubergrun agency: An advertising and media company that solely uses sustainable earth resources to create effective and influential media.

Their creations are transparent and project their client’s message in a way consumer’s easily understand and resonate with.

As we discussed in class, designers are able to use creative tools to connect with broader audiences, and I believe the Ubergrun Agency perfectly exemplifies in how to do so. Although it’s reassuring that large companies are making environmentally conscious choices in how they portray and project their brand, I question whether or not their motivation is coming from a place of moral integrity. Are big brands advertising in an eco-friendly fashion because they want to convey a better image to their consumers, or is it coming from a pure desire to help better the environment? Either way, I suppose their actions speak louder than their motivation.

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03

PASSION

Reflections

Design solves problems on a variety of scales. Simple tasks I constantly perform day to day are made possible by good design. For instance, knowing whether to open a door by pushing or pulling it is based on the design of the door. The “Design for Democracy� campaign is a great example of how designers are solving issues on a bigger scale, by using their skills to raise awareness on low voter turn-out. However, I believe solving problems with design does not always mean designing for good, and the values aligned with designing for good stem from a passion to

make a change for the better of people and or the Earth.

For instance, the founder and CEO of the technical apparel company, Outdoor Voices, wanted her branding to be accepting of all skin colors, ethnicities, body types, and more. Furthermore, all of the merchandise is ethically and sustainably sourced. The brand strategists and apparel designers used their skills to create a brand that was inclusive of all people and made under safe conditions.

I believe in order to solve a problem we must collaborate with designers from different backgrounds who all share a common passion for doing good.

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04 PERSPECTIVE This semester I’ve been challenged to look at design through different lenses which has ultimately allowed me to form a new and interesting perspective on the topic. One discussion in particular prompted me to think about how design can be a tool to reach broader audiences. Through talking with my classmates I started thinking about design as a language that everyone can understand. It has the ability to reach people from

a variety of different backgrounds which is why it’s such a powerful tool. With that being said, design plays a role in everyone’s day to day lives, whether they realize it or not. It influences our decisions, from what coffee we purchase to what kind of car we buy. I believe designers have one of the most important jobs in the world because they have the ability to touch the lives of people on a variety of levels, big and small.

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05 EDUCATE What makes Developing Citizen Designers such an easy read is the straightforwardness and simple language they use. The format is split up into different sections based on different case studies that relate to various topics. From there each case study states the description, research, challenges, strategy, effectiveness, and assessment of the project. These different topics make it very easy to fully understand the project from both the designer’s perspective and the consumers.

One case study particularly stood out to me as it dealt with designing an identity campaign for Barbeque sauce that raised awareness for the

non-profit “Feeding the Nation’s Homelessness”. The way they described the “problem” was not at all demeaning to the demographic they were designing for. They also pointed out the campaign was not the solution to the issue, but rather a creative way to raise awareness and educate. It’s important to take a step back and realize that just because you’re designing for a “good cause” does not mean you’re completely fixing the situation. In the end designing for good allows designers to widen their perspective and I appreciate how the writers make this point evident throughout the text.

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06

COMMUNicate

As I explained in my opinion paper design is a great tool in communicating complex ideas. It allows us to simplify a problem making it more understandable to the general public. Through reading my book I’ve developed a deeper understanding of the different forms design can take in communicating these ideas.

A prime example the book uses is “Together+”, a project that addresses xenophobia in Johannesburg, South Africa.

The campaign focuses on the communication of diversity as a positive social outcome.

They created a variety of materials, but the thing that stuck out to me most was the children’s book they developed, which was distributed to South African elementary schools. The story portrays the message of unity through diversity. In addition to creating the book, supplementary finger puppets, made by unemployed mothers, were created to support the instructor.

This campaign shows how design in the form of story can be used to open up a difficult conversation in a positive and refreshing light.

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references

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Berman, D. B. (2009). Do Good Design: How Design Can Change Our World.

Better Than New. (n.d.). Retrieved October 23, 2019, from.

Emily Ludolph. (2019, September 17).

When Activists Use Art: A Masterclass in Messaging from Bonnie Siegler.

Lisa Richardson. (2017, June 17). How the Worn Wear Program Will Make You Love Your Old Gear.

Margolin, V. (n.d.). Graphic design education and the challenge of social transformation. (A. G. Bennett & O. Vulpinari, Eds.) Graphic design education and the challenge of social transformation(Vol. 11, pp.

104–106). International Council of Graphic Design Associations.

Morley, M. (2017, April 26). What Design Can Do: Spark Social Change.

Nelson, H. G., & Stolterman, E. G. (2003).

The design way: intentional change in an unpredictable world: foundations and fundamentals of design competence.

Papanek, V. J. (1972). Design for the real world: human ecology and social change.

Pedersen, B. M. (2016). Building Community Power.

Powell, D. (2014, June 25). The Business of Social Design: Rethinking Model and Method. Dmi Review. doi: https://doi. org/10.1111/drev.10283 Resnick, E. (2016). Developing citizen designers. New York: Bloomsbury Academic, an imprint of Bloomsbury Publishing Plc. Zax, D. (2014, September 26). Why This Patagonia Designer Still Loves His Job After 17 Years.

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By Ellie Kestner