THE RESEARCH

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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

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

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.

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.

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.

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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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 voters, 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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