Manifesto Book by Michael Krauss

DESIGN

MANI FESTO

A DE SIGN MAN IFES TO

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 professionâ&#x20AC;&#x2122;s time and energy is used up manufacturing demand for things that are inessential at best. 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 â&#x20AC;&#x201C; a mind shift 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. Signed: Jonathan Barnbrook Nick Bell Andrew Blauvelt Hans Bockting Irma Boom Sheila Levrant de Bretteville Max Bruinsma SiĂ˘n Cook Linda van Deursen Chris Dixon William Drenttel Gert Dumbar Simon Esterson Vince Frost Ken Garland Milton Glaser Jessica Helfand Steven Heller Andrew Howard Tibor Kalman Jeffery Keedy Zuzana Licko Ellen Lupton Katherine McCoy Armand Mevis J. Abbott Miller Rick Poynor Lucienne Roberts Erik Spiekermann Jan van Toorn Teal Triggs Rudy VanderLans Bob Wilkinson

03 08 11 16 19 24 27 32 35 40 43 48 51 54 59

INDEX:

LISA//ALBERT JIMMY//FINAZZO JONATHAN//HILL KARISSA//JONICK MICHAEL//KRAUSS STEPHANIE//LARSON RYAN//LOCKWOOD BRITTANI//PARMER ANDY//PENINGER KENDRA//RUBECK MARC//SCATTURO ANDREW//SCHMIDT JANESSA//VANOEFFELEN RICKY//WYMA SEAN//PEREZ

LISA// ALBERT

00 03

04 Experimentation! Sometimes, I feel like a mad scientist when it comes to Design. Or….that’s just me being dramatic. I am a Graphic Designer, with “big eyes”. I’m always open to new and different styles of design and I like to be well rounded. I’ve yet to have a…consistent style for myself. I guess you could say my style is multiple styles’. I don’t want to always be in my comfort zone, where’s the fun in that? I do work best in controlled chaos, plus it’s frustratingly fun. Enjoying what you’re doing should be a must, otherwise the output can be very lacking…I prefer a fun and ever changing environment. I do enjoy travel…I’m going where the work is to…expand my horizons. Someone once said, “Insanity is doing the same thing over and over again but expecting different results.” I can’t agree more.

First Things First A Design Manifesto 2000 First Things First Things FirstFirst A Design Manifesto 2000 2000 A Design Manifesto First Things First We, the undersigned, are graphic designers, A Design Manifesto 2000 art directors and visual communicators who have been raised in a world in which the First Things First techniques and apparatus of advertising have A Design Manifesto 2000 persistently been presented to us as the most First Things First lucrative, effective and desirable use of our talents. Many design teachers and mentors A Design Manifesto 2000 promote this belief; the market rewards it; a First Things First tide of books and publications reinforces it. A Design Manifesto 2000 Encouraged in this direction, designers then apply their skill and imagination to sell dog First Things First biscuits, designer coffee, diamonds, detergents, A Design Manifesto 2000 hair gel, cigarettes, credit cards, sneakers, butt First Things First toners, light beer and heavy-duty recreational vehicles. Commercial work has always paid A Design Manifesto 2000 the bills, but many graphic designers have now First Things First let it become, in large measure, what graphic A Design Manifesto 2000 designers do. This, in turn, is how the world perceives design. The profession’s time and First Things First energy is used up manufacturing demand for A Design Manifesto 2000 things that are inessential at best. First Things First Many of us have grown increasingly uncomfortable with this view of design. A Design Manifesto 2000 Designers who devote their efforts primarily to First Things First advertising, marketing and brand development A Design Manifesto 2000 are supporting, and implicitly endorsing, a mental environment so saturated with First Things First commercial messages that it is changing the A Design Manifesto 2000 very way citizen-consumers speak, think, feel, First Things First respond and interact. To some extent we are all helping draft a reductive and immeasurably A Design Manifesto 2000 harmful code of public discourse

There are pursuits more worthy of our problemsolving 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. Jonathan Barnbrook, Nick Bell Andrew Blauvelt, Hans Bockting Irma Boom, Sheila L. de Bretteville Max Bruinsma, Sian Cook Linda van Deursen, Chris Dixon William Drenttel, Gert Dumbar Simon Esterson, Vince Frost, Ken Garland Milton Glaser, Jessica Helfand, Steven Heller Andrew Howard, Tibor Kalman Jeffery Keedy, Zuzana Licko, Ellen Lupton Katherine McCoy, Armand Mevis J. Abbott Miller, Rick Poynor Lucienne Roberts, Erik Spiekermann Jan van Toorn, Teal Triggs Rudy VanderLans, Bob Wilkinson

Jonathan Barnbrook, Nick Bell Andrew Blauvelt, Hans Bockting Irma Boom, Sheila L. de Bretteville Max Bruinsma, Sian Cook Linda van Deursen, Chris Dixon William Drenttel, Gert Dumbar Simon Esterson, Vince Frost, Ken Garland Milton Glaser, Jessica Helfand, Steven Heller Andrew Howard, Tibor Kalman Jeffery Keedy, Zuzana Licko, Ellen Lupton Katherine McCoy, Armand Mevis J. Abbott Miller, Rick Poynor Lucienne Roberts, Erik Spiekermann Jan van Toorn, Teal Triggs Rudy VanderLans, Bob Wilkinson

First Things First A Design Manifesto 2000 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,

We, the undersigned, are graphic designers, art directors and visual communicators who have been raised in a world in which the

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. 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 citizenconsumers 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

marketing and brand development are supporting, and implicitly endorsing, a

techniques and apparatus of advertising have persistently been presented to us as the most lucrative, effective and desirable use of our talents.

mental environment so saturated with commercial messages that it is changing

Many design teachers and mentors promote this belief; the market rewards it; a tide of books and publications reinforces it.

the very way citizen-consumers speak, think, feel, respond and interact. To some

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

extent we are all helping draft a reductive and immeasurably harmful code of public discourse

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. 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

educational tools, television programs, films, charitable causes and other

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

information design projects urgently require our expertise and help.

immeasurably harmful code of public discourse There are pursuits more worthy of our problem-solving skills. Unprecedented environmental, social and cultural crises demand our

We propose a reversal of priorities in favor of more useful, lasting and democratic forms of communication—a mindshift away from product marketing

attention. Many cultural interventions, social marketing campaigns, books, magazines, exhibitions, educational tools, television programs, films,

and toward the exploration and production of a new kind of meaning. The scope

charitable causes and other information design projects urgently require our expertise and help.

of debate is shrinking; it must expand. Consumerism is running uncontested; it

We propose a reversal of priorities in favor of more useful, lasting and democratic forms of communication—a mindshift away from

First Things First

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.

must be challenged by other perspectives expressed, in part, through the visual languages and resources of design.

A Design Manifesto 2000 Jonathan Barnbrook, Nick Bell

Many of us have grown increasingly uncomfortable with this view of design. Designers who devote their efforts primarily to advertising,

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.

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

Andrew Blauvelt, Hans Bockting expectation that no more decades will pass before it is taken to heart. Irma Boom, Sheila L.a reductive de Bretteville it is changing the very way citizen-consumers speak, think, feel, respond and interact. To some extent we are all helping draft and Max Bruinsma, Sian Cook immeasurably harmful code of public discourse Linda van Deursen, Chris There are pursuits more worthy of our problem-solving skills. Unprecedented environmental, social and cultural crises demand our Dixon William Dumbar attention. Many cultural interventions, social marketing campaigns, books, magazines, exhibitions, educationalDrenttel, tools, televisionGert programs, films, Simon Vince Frost, Ken Garland charitable causes and other information design projects urgently require our expertise and Esterson, help. Milton forms Glaser, Jessica Helfand, Steven We propose a reversal of priorities in favor of more useful, lasting and democratic of communication—a mindshift away from Heller Andrew Kalman product marketing and toward the exploration and production of a new kind of meaning. The scope of debateHoward, is shrinking; it Tibor must expand. Jeffery Keedy, Zuzana Licko, Ellen Lupton Consumerism is running uncontested; it must be challenged by other perspectives expressed, in part, through the visual languages and resources Katherine McCoy, Armand Mevis of design. J. Abbott Miller, Rick Poynor In 1964, 22 visual communicators signed the original call for our skills to be put to worthwhile use. With the explosive growth of global Lucienne Roberts, Spiekermann commercial culture, their message has only grown more urgent. Today, we renew their manifesto in expectation that noErik more decades will pass Janwho van Triggs before it is taken to heart. We, the undersigned, are graphic designers, art directors and visual communicators haveToorn, been raised Teal in a world Wilkinson in which the techniques and apparatus of advertising have persistently been presented to us asRudy the mostVanderLans, lucrative, effective andBob desirable use of marketing and brand development are supporting, and implicitly endorsing, a mental environment so saturated with commercial messages that

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.

Many of us have grown increasingly uncomfortable with this view of design. Designers who devote their efforts primarily to advertising,

07 I design because I’m hard-wired to create things. I think we all are to some degree; it’s just the way we are. As designers, we are problem solvers, idea generators, and adept visual communicators, but in the end, it’s the power to create things that keeps me coming back to proverbial drawing board everyday. Sure, there’s a sense of sa tisfaction from coming up with a killer idea, communica ting tha t idea, and solving a tough design problem in the process, but in the end, you just created a sweet looking design out of an idea pulled from somewhere in the back of your brain. Ho w cool is tha t?

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12 Design is an expression of our everyday life. It is all around us, from food to hair products. We as designers help make culture more relevant, to bring it to the masses and that is my main goal. Designers give information and knowledge in a intelligent and creative way. I am a care-free humorous kind of guy and I see that play into my designs from time to time. Using real life situations and experiences for inspirations is key to making a design that I know I will enjoy, and so will the viewer. I hope to make an impact with my designs leaving my mark on the world forever.

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.

A DESIGN MANIFESTO 2000 Jonathan Barnbrook Nick Bell Andrew Blauvelt Hans Bockting Irma Boom Sheila L. de Bretteville Encouraged in this direction, designers Max Bruinsma then apply their skill and imagination Sian Cook to sell dog biscuits, designer cofLinda van Deursen fee, diamonds, detergents, hair gel, Chris Dixon cigarettes, credit cards, sneakers, William Drenttel butt toners, light beer and heavy-duty Gert Dumbar recreational vehicles. Commercial Simon Esterson work has always paid the bills, but Vince Frost many graphic designers have now Ken Garland let it become, in large measure, what Milton We, Glaser the undersigned, graphic designers Encour- do. This, in turn, is graphic designers, JessicaareHelfand aged in this how the world perceives design. The directors and visual StevenartHeller profession's direction, time and energy is used communicators who have designers Andrew Howard been raised in a world in up manufacturing demand for things then apply which the techniques and Tibor Kalman their skill and that are inessential at best. imagination Jeffery Keedy Zuzana Licko Many of us have grown increasingly Ellen Lupton uncomfortable with this view of design. Katherine McCoy Designers who devote their efforts Armand Mevis primarily to advertising, marketing and J. Abbott Miller brand development are supporting, Rick Poynor and implicitly endorsing, a mental enviLucienne Roberts ronment so saturated with commercial Erik Spiekermann messages that it is changing the very Jan van Toorn way citizen-consumers speak, think, Teal Triggs feel, respond and interact. To some Many of us have Rudy VanderLans grown increas-extent we are all helping draft a Bob Wilkinson ingly uncomfortreductive and immeasurably harmful so able with this code of public discourse. sat-

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.

FIRST THINGS FIRST

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.

urated with commercial messages that it is changing the very way citizenconsumers speak, think, feel, respond and

, think, feel, respond and interact. To some extent we are all helping draft a reductive

We propose a reversal of in far or of more useful, lasting and

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

There are pursuits more worthy of our problem-solving skills. Unprecedented environmental, social and cultural crises demand our attention. Many cultural interventions, social mar-

view of design. Designers who devote their efforts primarily to advertising, marketing and brand development are

F FIRST I T T THINGS NH FIRST 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.

15 Thinking about design makes me think of all the ideas that are drifting around in my head. Ideas of creating pleasing design. I want my work to reflect who I am. I want it to reflect how I view the world, and I want it to show the inspiring details of everyday life.

K ARISSA//

JONICK

MIKE// KRAUSS

Design is everything. It is what we see every single day on just about everything we come across. Without design we would live in a bland world. Design is involved with so many different things that doesn’t even cross our mind that a graphic designer has made it. There are bad designs and good ones. Too many bad that I have seen. Many good ones also though. The good ones do happen to be with the “big” names in the business, like Nike. Hopefully one day I will be one of the people working for one of those “big” names. Or more so, have my own name in this world of graphic design that has made it to the top. I want to be one of the best and I won’t stop designing until I reach that goal.

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lucrc attv iivee,, aefen d irafbd stsee.so ole taeelu n M au nreyrs d s g i n t e ace hn a n d m rse pro m oretewth sirds bt;ie eild f;tioth m a r k e t a a e brcoeo an d pu ura bc ilaeo tidtn sn reon if-si fo snkd t.ise E n cno g ip d r e i c o t i , s g i e r s t h e n a p ylth thse eri l soklaigndim acguin atiodneto d b i s i t s, si g nte erree,hdaiairmo gc eod nfits, gsn en l,ed cs, igeards, reette c r e t c a r d s, a k us,tt tountyers,rlie gc hrteb e enr,aalndve hehb aicvyd a ti o leys s. Cao mme rcilsia,lbw o rma khn as a lw a p i d th e b u t y g r a hic , rsme haave nreo,wwlehtia tb crp oame inedsielg asirng gen ere su tehg ph ic d s d o . T h i s , i n tu rn , i s o w o rldtimpeea rcnedive sed nse . Thu eppma roth fene su-siw otu n’s e rge ysiisginu fa c rlinagt d ma nn dan fo gssd th taregrin ew sn tiaasi be e st. M yrrtath obfleu hhaath ve ow idnsecesirn e n g l y u n c o mf o w i t i s vi e of griln .to Deasidgve nertirssinw hma o drkeevo te th ed ir ebfo p r i m a y g , ti n g , a n rp arlts n d e ve l o p me n t a r e su p p o r ti n g , a n d i m icd itiltyh 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 eonmm dorsienrc gia ,alme messa ntalg en vi ro name nctso sa tu rgate d w c e s th t i t i s h a n g i n th e y, w ayinc itrizaecnt.-T coon sume meersxte sp ew ake, a thre inka,lfheeelp l, irnegspdve oranrftd a n d te so n t alic Bell, r e d u c ti v e a n d i m me a su r a b l y h a r mf u l c o d e o f p Jonathan Barnbrook, Nick Steven Heller, Andrew Howard, dro isb co u rs-eso . lvTin hg ereskailrse. p unrp su its mo rte edwe on rth yronome fub on url, p l e m U r e c e d e n vi s o c i a l , a n d c u l t u r a l c r i s e s d e ma n d o u r a tte n ti o n . M a n y c u ltuta ra lAndrew Blauvelt, Hans Bockting, Tibor Kalman, Jeffery Keedy, ininte es rv,eenxtih oib ns, so ceiadluma ro ke tianlgtoo cla mp aviig n s, brooogkras,ms, ma g as, z i t i o n s, c a ti n s , te l e s i o n p f i l m persistently been presented to us as the most lucrative, effective, and desirable use of our talents. Many design teachers mentors this belief; the cq hand a le ausepromote s,andoth erin forma tionmarket deWe signrewards projectsit;uragentlya re uririteab o urcexpertise help. Irma and Boom, Sheila L.propose de Bretteville, Zuzana Licko, Ellen Lupton, reversal of priorities in favor of more useful, lasting, andmind democratic formsfrom of communication—a shift away product marketing and the ofexploration and Max kind Bruinsma, Siân Cook, Katherine McCoy, Armand Mevis, production of a toward new meaning. The scope of debate is shrinking; it must expand. Consumerism isother running uncontested; it must be challenged bythe perspectives expressed, Linda van Deursen, Chris Dixon,in J. Abbott Miller, Rick Poynor, tide of books and publications reinforces it. Encouraged in this direction, designers then apply their skill and imagination tothrough sell dog biscuits, designer coffee, diamonds, detergents, part, visual languages and resources of design. Incall 1964, 22 visual communicators signed the original for our skills to be put to commercial worthwhile use. With the explosive growth ofgrown global William Drenttel, Gert Dumbar, Lucienne Roberts, profession’s timenow and let energy is usedinup manufacturing demand for things that are inessential at best. Many of us have grown design. increasingly culture, their message has only more urgent. designers have it become, large measure, what graphic designers do. This, in turn, is how the world perceives The sneakers, butt toners, light beer, and heavy-duty recreational vehicles. Commercial work has We, always the bills, but credit many graphic Today, webiscuits, renew their manifesto that nohair paid apply their andthe imagination tomore sell dog designer coffee, diamonds, detergents, gel, cards, will pass before itinisexpectation taken to heart. promote thisskill belief; market rewards it; a decades tide of books and publications reinforces it. Encouraged in thiscigarettes, direction, designers then the undersigned, are graphic designers, artthe directors, and Simon Esterson, Vince Frost, Erik Spiekermann, Jan van Toorn, persistently been presented to us as the most lucrative, effective, and desirable use ofin our talents. Many design teachers and mentors visual communicators who have been raised athe world in directors, and visual communicators who have been raised in ailapparatus world in which techniques and apparatus of advertising have ha s on l y g r o wn mo r e u rg en t . T o day , we r en ew t h ei r man i f es t o i n ex pect at i o n t h at n o m or e d e c a d e s w p a s s b e for e i t i s ta ke n to h e a r t. We, undersigned, are graphic designers, art which the techniques and of advertising have inmark pa rt,et thin roand ughdtheavy-duty ho ewar visudaltlh ae ng urecreational agoes an res uvehicles. rces oiofdes ia gn In1964, 22 vwork isualin co icator sig ne th e orrinigkiinnag; lcto lfor ou rskigraphic to bep udesigners tto w or thw uis elucrative, .Wi thon thte eexpdlo iveugr glnoge badlcbom merrpceiarlscpueltu eeirxp mre ssse sage hair gel, cigarettes, credit cards, sneakers, butt toners, light beer, has the bills, but many persistently been presented us as the most ex pl ratio ndan djeo pr du cten nteffective, fCommercial n.ew do fmean g .mmun hp ealways sc ofspaid d eb ad te isuse sh itarm te alsn dtalents. .Milton Con s u m el,rla isGlaser, m ig, srha uilenn n unoc c ;itsm tow bem cthhuof aleic yoth cra tievy,eth e and desirable of design Teal Triggs, Rudy VanderLans, cUn auspr es,g anan dottted her info rmat ion des ig prl,o ctoscu urg lyo equ ireokuin rex pert eten antd hT.elM .an Wyop epuerop ose a rsa prGarland, io ieu sasinrour faxp vor or se sti nMany dg m aticibste for cusom astio,te n—a mie npdrogr sha iftm aw frsom rrod uled ct, teachers and mentors this the rewards en roinnkmen tral ,spo on cia an d ural cri sro esso deman d ou ris at ioal n tuftraa lin te rvre evtinve tiKen o nsnlof ,soc iam litm ke nbglyof cham m pe au ilgc nod s,fub ooks, mlicnad ga zien es ,e er.xh iroem nass ,eofd tiio nm alntool levy isio film s,vcinhp itab con soeceden utmers speak ,vthim ,feel,adv es dintlteract T medex ten we aredesigners lheelsp gcor drtila rpromote e d c mor eg, asu ratibelief; a m ofsmarket pEncouraged u b d isc Theitm uc rseau or wtor ofn rob les,m -w sol gia a tide of books and reinforces it. dev theicei ref rtsdes pri ertn issd, nn gan etthis init; gen ,.an ddirection, bran dev elto pmen tar uin p nn g,dpublications afor nthen duim pe licth italya edanrid sisse n atheir m let.rskill nMa vifu ron ee o sea tuow ra te dou wcritrsh rrcein iaplm sta stsa ge se tha tisvithc h a nou ginergspig th eve rsi yg yrscw tizski eo nls -. apply imagination to wo deper vfo es ighnari .Tlyhto e-pr otfyes iio ’s,mark tim evan ymmer isused uap man fas act uw ridesigner nag dp e a inugs eia np e lig aetnnbeta erss nnym ofand unlestth in eachair siom neglaysuuen bp lehw iiis e w of nhaeow h Jessica Helfand Bob Wilkinson sell biscuits, coffee, diamonds, detergents, gel, to nrlers ,sligan htd beer ,bl an d eav y du recr eat io nal ehd icleinserg .tdog Co ci lwo rknu hers al ys pm a id th eski billsth ,b tim m agi nty gr htoicsdnebutt etilas h a ve ow itra bcveof cfgr om eia ,ninm labeer, rge m rand ec,om w h,afor tagr a icigitdhaerth stte gn ec rsred o.id Th is ,n in.De tunrn ,iske th e cigarettes, credit cards, sneakers, toners, light bo o k pu i c at i o n s r ei n f o r ces i t . E n co u rag ed h i s di r ect i o n , des i g t h en a p p l y th e i r a n d a n a ti o n d og b i s c u i t s , d e s i g n e e e , d on d s , d e te r ge n ts h i r ge l , c e s, d t c a r d s, s e a r s , b u tt an dpect apparat ofnadv ertisreingdecades haveperswi istlen tlysbeen es ted tto as.tW hee,mo tlu re artisvig e,neefd evehicles. c tivreegr ,an dhdices ireasibglenCommercial uese ofrtou rta lensts,a.Ma elcsiom gnte au cn he rastor ansdwm enhtor pbrom isin bealiew f;th em arke reth weate rdcshit;naiqtid eesof heavy-duty recreational has always ex ationnicutat hsat o mo pas bef rpr itisen tpu akbills, en ou hsrteart esWi u nc ,asi p dof a dm ire crtor vni,syth udnow awork m o an vsem eeenuote rrage isth end or icth paid but graphic designers have let become, co mmu okrs si;g edsthtex eopan rigind. alcal lfn o ro u rs ksilso tthe oeisbe tinto wo hn wh ileted; utshmany e. td ec egraphic xp ved grab ow thdesigners oeb arls, ceom e cia lcsse unltd ud re e irm erssa geic hturn, aeit svon lyah ow or Tod wldd ein esiw ngeh e9ir6m ssu to in large measure, what do. in is how debat sinfh rin itisnmu Co s u meri m rudesign. n nperceives go ufnco co tes itmu shtth be h adllo esh nand ge yyoth ergl pis rsp c tivea srke e xp re ,This, inp a rt,th th ou gh th isa u lgr lap n gu a ge snan dare set.ou rcnead sy,of of ere niw .Ig. nth1 4s,a 2n 2ife vie u ainl have now let it become, in large measure, what graphic designers do. This, turn, how the perceives The profession’s time energy used up manufacturing pri o ritieesising av o rin og fmo re usef u l,laes st,world in g ,up an d demo crat i c f o rms mmu n i c at i o n —a m i n i f t a w a fr om p r od u c t m ti n g a n d tow a r d e e xp l o r a ti o n n d r od u c ti o of n w ki m a n n Th e c op of the world design. The profession’s time and energy is used campai n s , bo o k s , mag azi n ex h i b i t i o n s , edu cat i o n al t o o l s , t el e v i s i o n pr o g ram s, fi l m s, c h a r i t a b l e c a u s e s, a n d oth e r i n for m a ti o n d e si g n p r oj e c ts u r ge n tl y r e q u i r e ou r e xp e r ti s e a n d h e l p . W e p r op os e a r e ve r s a l of manufacturing things inessential discourse. Theresome arepursof uitsextent mo rewo rthywe ofou rare problemsoincreasingly lvdemand inhelping gskils.Unprecfor e dente denaviron mthat ental,socare ial,andand ulturalcimmeasurably risthis esdemview anat doubest. raof ttentiodesign. nMany .harmful Manyculturalincode terventions,of sociapublic lmarketing us have grown uncomfortable interact. To all draft reductive Designers who devote their efforts primarily tocwith advertising, marketing, commercial messages that is changing the very way citizen-consumers speak, think, feel, respond, and and brand development areit supporting, and implicitly endorsing, a mental environment so saturated with and brand development are supporting, and implicitly agrown uncomfortable with design. who devote their efforts primarily to advertising, marketing, mental environment with mme rciaise lme geegraphic srworld thaalthiMany teislendorsing, h n grth euve think, feel, respond, and interact. To some extent we are all We, the undersigned, are time and energy is used demand for things are inessential at best. of have increasingly w athis yim citm izview eenup -measure, c omanufacturing naof sbulym e rrsm sfp e aokgraphic ,Designers te hso in kfp ,fsaturated e ebdesigners l,lic red sp o n dr,se ando. d inthat te raacc t.oT ou so me xhow te nssa tw a eo pbut ic nodesigners, gbald rg aifntus a e d csk tivrye now let it become, in large what This, in turn, the perceives design. The profession’s a n d a s u r h a u l c d o u i s c o u . T h e r e r e p r su i t s mo r e w o r th y f o u r p r e mso l v i n g i l s . light beer, and heavy-duty recreational vehicles. Commercial work has always paid the bills, many graphic designers have imagination totide sell dog biscuits, designer coffee, diamonds, detergents, hair gel, cigarettes, credit cards, sneakers, butt toners, U n p r e c e d e n t e d e n v i r o n m e n t a l , s o c i a l , a n d c u l t u r a l c r i s e s d e ma n d o u r a tte n ti o n . M a n y c u l t u r a l i n te r ve n ti o n s, so c i a l rewards it; a of books and publications reinforces it. Encouraged in this direction, designers then apply their skill and helping draft a reductive and immeasurably harmful code of art directors, and visual communicators who have m a r k e t i n g c a m p a i g n s , b o o k s , m a g a z i n e s, e x h i b i t i o n s, e d u c a ti o n a l to o l s , te l e vi s i o n p r o g r a ms, f i l m s, c h a r i t a b l e c a u se s, most lucrative, and usetsof our talents. Many design teachers mentors promote this belief; the demand for things that are inessential at best. Many of us have grown increasingly uncomfortable view design. Designers efforts ainnodeffective, thstoe iheart. nl,flo rm a t,ioaofdesirable n de seigm nundersigned, rgwho en tlfydevote ro emmu qapparatus uiretheir on uicra e pneof rtisprimarily emi ann dd hsh etolpifadvertising, .W eapyand ro pm ose reuve lobeen p rtiio ie sn indfa been raised aeowith world techniques and advertising have persistently presented us market as the m u earfgrown uthis ains tninwhich gWe, nd d dthe op crorajentic cew fou rk ms o c tixodesigners, — a w fro raod cx trsa ma rfk e.C norgitn asu tovo wraordfistowho before it ishas taken directors, and visual communicators have message only we renew their expectation that more will their pass th ein einrx lo o n d p r;o uthe cuurgent. tsio ob fare me agraphic neinrresources g .eT h e sc p e fdesign. dp ere bart ain teta id s r1964, ip nwhich k irnt,gth ;itp mu st e pno avin d me been inof aexplosive world in the original call our to put to use. With of commercial ru no nfor gp urn cftid oskills nstaeig sn te.more d ithe t9be m t2nbvoeisfa ca hToday, acworthwhile le n ginmu edd y oto th pgraised re sp e cmanifesto tiovthe e sigoe xa sse ,sh inrgrowth a r22 o u gvisual htglobal thtechniques e srth u a llh ain gother use adecades g.and ersisitm aculture, nthd expressed, part, through visual languages and In communicators signed thepublic discourse. r e s u r c e s o e I n 1 6 4 , 2 u l o m n i c a r s si n d th e o r i n l c a l f o r o u sk i l s to b e p u to w o w l e u W h e shrinking; it must expand. Consumerism is running uncontested; it must be challenged by perspectives product marketing ofro athn The scope of debate exxp pelocpriorities staivte g w tn hinoofavor fgtoward lo b lof cdoemore m esrexploration c ialilcpualtu re ,th e irrand me ssa eh ah sof oanradvertising g mo ekind ucommunication—a rg gn ee nof t.T omeaning. ,aw eirced ne th e ma n sto ins, fromis reversal of useful, lasting, democratic forms mind shift norto hmarketing am tand m oother rerascampaigns, cthe am de w b ed fomagazines, e itisand taproduction krg n tow t.lyth W ete ,w enew uiq nu drof d ,a rd eaa gyrtu p ew sighelp. nse rirg s,programs, aWe rtpresented difiree caway apparatus persistently been charitable and urgently our expertise a There are pursuits more worthy of our problem-solving aen ntd vbissocial ueanio lcp m uend ictao to hinformation ve belubooks, enss a e o le d hsieic hb crequire h eeta srsihave nts. da p p ssiho fand ad h a ve ppropose eto rsirto s-rfilms, ventions, exhibitions, television tre lyoskills. ecauses, ree se uestrw aesw to h erhda m afrdesign tivis ,eksocial, fsin epublic cantiprojects vw ep ,au nb diln dcultural a leineu se osn fiteducational o uare lea n M aintools, nth yramore d e tenve a,d crtie h eing rs a me n s solving Unprecedented environmental, and crises demand our Many cultural interreductive and immeasurably harmful code of discourse. pursuits of penvironment oirm ten td hiism bso lie f;a tn httio en mto arskwith a suito ;itass,ttd ide ecsorig b oe o a dd icn a tieand os, nrd smost rete foThere rcnlucrative, ets, .E nrgc osome u rig aa g eed iattention. s d iritwe eg cn tiworthy o si n en rour sd th ettproblemnuse adraft p lys, a to us as the effective, and desirable very way citizen-consumers speak, think, feel, respond, interact. To extent are all helping marketing, and brand development are supporting, and implicitly endorsing, a mental saturated commercial messages that itia is changing the very way citizent h e s k i l a a g i n e l d o g b i s c n e r c o f e e , mo d e r g e h a i r e l , c r tte s, c r e d c a r d s, sn e a k e r s, b u to np elerthe and implicitly endorsing, a mental environment so saturated with commercial messages that it is changing lDesigners igthat hctobm eare eer,,a nla drwho heem aveydevote -dsu tryeat re ctheir rbest. eaatg tiora n aMany lviceh ic lseig s .nC o mme rcisadvertising, ia,in lgrown w orn rk,ishh aincreasingly sw alw aeys p a idpth e b iv lse,b u tema n.development yTg rewith ap prhoicfethis d eo sig nare e rsehsupporting, aofn ve n o w tiist skills. Unprecedented environmental, social, and cultural efforts primarily to marketing, and brand b e i n g a u , w h p h d e e r s d o . T h tu o th w o r l d e r c e i s d si g n h ssi n ’ s ti m a d e n e r g y inessential of us have uncomfortable view design. world design. time and energy used manufacturing demand things uessthe egraphic dnu.p m uperceives ctw urih ngddhave eem ate nnow dfo tThe hrecreational ingritstsprofession’s thpartim ara erin evehicles. sse tive alartitsbtalents. egst. M arn yMany fgu,sisah ve grarhas oup w nddesigners in crelo ap sime ngpaid lynudo. cre oThis, mf orp tain ith ishow vi ewlicoitlyf crises demand our attention. Many cultural interventions, of our design and mentors designers let inan large measure, turn, isd ig ebiscuits, sa ign ne efartsand vo esrira e to d in ,hair ma kgel, tionwhat na dcredit eteachers tn su obrme tile nw gbut ,for nth ia m light beer, Commercial always many ede nl,dreo rspinoD gn,d a lera ncvotheavy-duty iron m em ncoffee, testh o tnufto rdiamonds, ateebecome, dain w cilyo iaftlame ssa seath a tthen itiswork cdgraphic hab gnin eve ve rcards, yu wlc ao yand c itaizo ethe -c opbills, nlicsu sartoners, sp kep ,th dog designer detergents, cigarettes, sneakers, butt fe ,m a no drntih nayte o soob e xotelvmentors r.eUitah lp h eelmme p ie n gednrrcthis a e d cng time veethe dmarket m me ann su rc agu bth a mf d e fnd p u d is ctioorof u .ea T reuinaltk re, reinforces it. Encouraged this direction, their to sell promote belief; market it; a tide Many design and promote rewards ofuse books and publiitstscations m o,rseo w orkfteachers o ui.nT rg pwho rbeen lem -sig in gw so kk ilsraised n c d te dheirbbelief; ndesigners viiothis ruo nnc ta l,tiiso cathe iallto ,apply a d ltly uvih rsaand lcrit; rirewards sskill eaapparatus sotide d era ma nimagination ob u tte n nle .se M nhse yc have persistently presented toma usrg as the most lucrative, effective, and desirable ofra our talents. inp teurvrseuninformation io n s c i a l m a e t c a m p a n s , b o s, a z i n e s, e x i t n s, e d u a o n o l s , te l e i o n p r g ms, f i l m s, c h a r i t a b c a u s,aunradl social marketing campaigns, books, magazines exhibitions, communicators have been in a world in which the techniques of advertising other design projects urgently require our expertise and help. We propose a reversal of priorities before it useful, isand taken toToday, heart. We, theoftheir undersigned, are graphic designers, art directors, and visual consumers speak, think, feel, respond, and interact. To some extent we are all in helping draft amore reductive immeasurably harmful code public discourse. There are pursuits moreno more grown more urgent. we renew manifesto in expectation that decades will pass favor of lasting, and democratic forms of communication—a mind shift away from product books and publications reinforces it. use. With the explosive growth of global commercial theirskills hasput only marketingworthwhile and toward the exploration andthe production oforiginal a new kind ofresources meaning. Theto scope of debate is educational tools, television programs, films, charitable 22expand. visual communicators signed the call for our be to shrinking; it1964, must Consumerism is running uncontested; itculture, must be message challenged by other expressed, in part, through visual languages and of design. In perspectives expressed, in part, through the visual languages and of Consumerism is and running uncontested; itkind must be challenged byof debate other perspectives and toward the exploration production of agrowth new of meaning. The scope iscall shrinking; itresources must design. Inexpand. 1964, 22 visual communicators signed the original for our skillshas to more useful, lasting, andurgently democratic forms of communication—a mind shift from product marketing causes, and other information design projects urgently Encouraged inglobal this direction, designers then apply be put to worthwhile use. With the explosive of commercial culture, their message mation design projects require our help. asaway of in favor of only grown more urgent. Today, we renew manifesto expectation that more decades will swo o ciartlhtaken mark et inpr gocampai g n s ,gbo oilsk.sWe, ,mag az ide nes ,te ed xh ib itvitheir iorexpertise ns,m ed u c al,tisooc nand aialtool sd,are teuleltv isrWe iolin n ppropose rogr am ma s,nfild m ,reversal c htte aritnatib le c aupriorities se sc,no aart n draother inforpass before it is to heart. the undersigned, graphic designers, directors, and visual y o f o u r bl e ms o l v i n s k Un pr ece n e n on e n ta l , a n c u a c r i s e s d e ou r a o n . Ma n y u l t u l i n te r ve n ti o n s, an dbeen interact T snomen meex twe ar eto allthhelcom pingm d re afta eworld deussa ctivmost e asnth din m ugi rimagination abglyth hthe arvm fu lctechniques ode pnu-cbon licd ism cou .Th ek,rethapparatus ainre uerlsu tspdesigner m ore, of communicators who been raised in which and require our expertise and help. skill dog biscuits, a men t.al en.have vigo irn o tosdev oten sat ed iathe lrtheir m ge aim tke itand islucrative, ceg, haasan yve w citof ie ze su etirnrsse sp e a k,itp esior have persistently presented us as effective, use of advertising our talents. des ignu Des ers wh outeratthMany ei rfwi ef fotpromote rticultural s prim a rtilyarcrto a d ve rtin sitin g, m ae rst. tin n dnb rahne dmarket deergr loapynm neto trewards asreinsell su puand pnor g, adesirable nta d im p lic lfe ythe n,rd son inofg,d worthy of our problem-solving skills. Unprecedented environmental, social, anddesign cultural crises demand our attention. interventions, social marketing campaigns, Many teachers and mentors this belief; the it; a tide of books and publiu s ed p man u f act u ri n g deman d o r h n gs th a e i n e s s e a l a t b Ma n y of u s a ve ow i n c r a gl y c om for b l e w i t h i s v i e w cations reinforces it.,me, Encouraged this direction, to butt sell beco inhlcoffee, aeav rgeymeas re,wh atin g raph cledse.siCom gnersdetergents, deo.rcTh iw s,in ,isshaow waor pgel, ethen rcile iveustcigarettes, dm eapply signy.Th eph rtheir ofe ssisiog nncredit ’seskill tirm ecigarettes, anedand eow n ergy isimagination beer an tsyelrulecr al vseh iic am lvehicles. ortu kdrn hdesigners a ath ynhair se p idldth b gr ic hu aalways ne diamonds, detergents, gel, credit dog biscuits, designer diamonds, cards, sneakers, an imd in imark on-du toet doeat gds biiosn cu ,des ignercaofnm fecoffee, ep,d iib a on s, telw rcge ,ha gere c igsd a,b rin ette cairrn e cna a,p rd dhair ,sgd ne eahas ,snba ttvp ton liglehlttit paid toners, light beer, and recreational work bills, butpropose a reversal of priorities in favor of more thbeen id sbel iag eheavy-duty f;es thave hat e itlet ;a titid ocra fbooks id cad tio rb edlie nefor simeasure, tts .Commercial En cirou al,.ge ths, iswhat d ed cte tiito esrsi rske thresen p thres,ote irski graphic designers now become, in do.the This, in We turn, en tedntic oat urewar srs aswh theomo telit ubee tinvera,eisfeedcd tiin ve ,uaw nlor einsnirs alarge usth ee ou rn ta nets Ma si hgraphic e sarn ned m tordesigners se plryrsiom v isu alpr co mmu o havse ae ld w hhiceh eofte iqlenu nn dn aydpd pe rg an tu a d inrg hratd ve s,te ismany howthat the are world perceives The profession’s and energy isspahofciclight used up manufacturing demand forlasting, and democratic forms of communication—a cards, sneakers, butt toners, beer, and heavy-duty ex pect at ion tdesign. hwt atnho mo rMany e decades wi lplcus ausltsub ehave for itm ista ke nge totime asrt.on W egr ,cthh eu d es rsaie g e ,a rt.a eT gr a d erve sin gtiensw e s,th a ireap c tor ssto awith nn dtly this view things inessential at best. of grown increasingly uncomfortable of design. useful, ex pl o s i v e g r o o f g l o bal co mmer c i a r e , th e i r e s s a h a l y ow n m or u r ge n od a y , w e e e i r m n i f e i n Designers who devote their efforts primarily to advertising, marketing, and brand development are supporting, res o u rn ces oufndes igtes n.Itned; 1964, 22 vbe isual caom m udnso icyator sesrigpneersdpth e or igsineaxp lwith ca lsfor ou rcommercial ski ls to bre pgh utto w or th w h in legu use .Wi th thde that it is changing the and implicitly endorsing, a mental environment saturated messages i s ru n i n g co n i t mu s t c h l e n ge b oth e c ti v e r e s e d , i n p a r t, th ou th e vi s u a l l a a ge s a n thmo eex pluospeak, rat iol,nlaan dgpr othink, du ctioprojects nocrati fafeel, ncof efor wm kipublic nsdof ofcm earequire nin g. Th eour sc op em ofindd esbhaiThere teaand issh rin king;To itrWe m uusome sctpursuits em xpaarke ndtiwork .Con sdutow m eraisrm veryfilms, waycharitable citizen-consumers respond, and interact. extent we are paid allof helping draft recreational vehicles. Commercial has always r e s ef u s t i n , an d demo om m u n i c a ti o n —a f t w a y fr om p od t n g a n d books, magazines, exhibitions, educational tools, television programs, causes, and other information design urgently expertise help. mind shifta away from product marketing and toward the reductive and immeasurably harmful code discourse. are more worthy our probleman dotet henvironmental, er ormatiog ndes ignok prso,ma jectsga urzige ns,tlyere quiand reoou red xp ea rtitisoenaanltool dhe .W rnop os eaam revefirlm sas, lofcp raioritrour itiebsleincfa or solving skills. Unprecedented social, cultural demand attention. Many cultural intermark inginfcampai ,bo u srl,pte levinestio ip on peducational rogr hrve a avu seof s, television ventions, social marketing campaigns, magazines, films,a Un prinformation eceden tyedharmf ennvsirbooks, o men taofl,soc ialilc ,naen cxh ulitb usitreia lncs,rise esbut dcexhibitions, e mpa dou acrises tte cusrlt,up ra linlte n s, the many graphic designers let help. it programs, im un rabl ulnco id sprojects cd ou ro e unrsu itsxte m e w or.reMa thaylhn ofylp ou rob em -snoltiovtitools, inhave gsoc skidlsia.l now charitable causes, and other urgently require our expertise and We exploration propose and production of a new kind of meaning. The cimental tmeas izmore en-co su mers speak ,de thdesign ink, fepeul,b rsaturated espd on ,arbills, nd.inTh tee rare ct.aTc som nor te w e a incghcommunication—a re reversal of priorities in favor of useful, lasting, and democratic forms mind shift away from environment so with om me ere cof ialm ssa ge sthaetof itiskind adnragiftnagof thdeuvc ervyewaan y product marketing and toward the exploration and production a new meaning. The scope of debate is and brand development are supporting, and implicitly endorsing, a shrinking; itin must expand.the Consumerism is running uncontested; itthismust be challenged bydo. other perspectives Designers who devote their efforts primarily to advertising, marketing, become, in large measure, what graphic designers us have grown increasingly uncomfortable with view of design. expressed, part, through visual languages and resources oftime design. In 1964, 22 visual communicators signed the is shrinking; it must expand. Consumerism scope of debate manufacturing demand for things thatthe are inessential at best. Many of original call for our skills to be put to worthwhile use. With explosive growth of global commercial culture, their world perceives design. The profession’s and energy is used up message only grown more urgent. Today, we renew their manifesto in expectation no more decadeswho will pass in large measure, what graphic designers do. This, in turn, howand thethat This, inand turn, isadvertising how the world perceives design. Thepresented propose a reversal of priorities in favor of more useful, lasting, and democratic of communication—a mind shift away frombut product marketing toward the exploration and before it ishas taken to heart. We, the undersigned, are graphic designers, art directors, visual communicators have paid the bills, many graphic designers have now lethas itis become, is running uncontested; it must be challenged by other heavy-duty recreational vehicles. Commercial work always been raised in forms a world in which the techniques apparatus of have persistently been tothe us market as the gel, cigarettes, credit cards, sneakers, butt toners, light beer, and most lucrative, effective, desirable use ofbiscuits, ourand talents. Many teachers and mentors promote thistheir belief; sell dogreinforces designer coffee, diamonds, detergents, hair rewards a tide booksand and publications it. Encouraged inskill this direction, designers thensneakers, apply skilltoners, and imagthis designers then applydesign their and imagination to profession’s time and energy is used up manufacturing it; adirection, tide ofand books and publications reinforces it. Encouraged in ination toit;heavy-duty sell dogofbiscuits, designer coffee, diamonds, detergents, hair gel, cigarettes, credit cards, butt light perspectives expressed, in part, through the visual teachers mentors promote this belief; the market rewards beer, and recreational vehicles. Commercial work has always paid the bills, but many graphic designers have effective, andbeen desirable use to of ourastalents. Many design perceives design. The profession’s now let itenergy become, in large measure, what graphic designers do. This, in turn, is how the world time persistently presented us the most lucrative, demand for things that are inessential at best. and is used up manufacturing demand for things that are inessential at best. Many of us have grown increasingly uncomwhich the techniques and apparatus of advertising have languages andwith resources of design. visual communicators who have beenefforts raised in aprimarily world in fortable development with this view ofare design. Designers who devote their to advertising, marketing, and the undersigned, are graphic designers, art directors, and brand supporting, and implicitly endorsing, mental environment so saturated more decades will pass before itinisexpectation taken toa heart. We, production of a new kind of meaning. The scope of commercial debate is shrinking; it must expand. Consumerism is running it must be challenged by perspectives expressed, messages that it are is uncontested; changing the very way citizen-consumers speak, think, feel, respond, and Today, we renew their manifesto that no interact. To all helping draft aother immeasurably code of their only grown urgent. Many usof have increasingly uncomfortable with explosive discourse. Tm he rgesome azrie psu,e rsxuhitisbextent m osre,ew ocrth yiwe onfaoltu roplsro blelevm -snoculture, lWith vdesign. in g sakm ilthe ss .call U np rfor ecmessage che dri22 eanb te dcgrowth eu nhas vitoof rcommunicators os,reductive nbe me no ta l,global so cworthwhile igrown arl,ma amore ncommercial dtiand cnud ltue rsi ause. lthe cn rispero sjedcets ma ne dnotlyurreaqtte n tio n .rharmful M apne yrtis ce ula tunradlin te rIn ve n1964, tieop nrs, so c iapublic lama rkresa tinlg 22 visual signed the original call original our skills put to ca m pai g n s , b o o k s , a a n e i t i o n d u a t o o , t e i s i o p r o g r , fi l m s, a t l e a se a n d th e r i n f o o g u r g u i r e o u e x h e l p . W o p o se r e ve ocommunicators f In 1964, visual signed priorat itieesisinsfa vrinokrio fmo reuu seexfupl,a lansd tin.g ,o an d dm em om craisticrufonrn m sgoufnccoom m utendic aitm tionu— aemi nadby sh iftother avisual wb ayyo frperspectives o m p reo d ue cc tma rexpressed, kDesigners exresources tin g asse nddto,in wp awho rdrt,th eroedevote xgphloth raetiovinstheir a n d p rgefforts oudaugcetio nan od fare nso ewurkcined o ffme agnnin.Ig .1T9h6e4sc e part, through the languages and of this view of design. deb h n g ; i t m s t C n s u e r i s i n n t e s ; s t b c h l e n g e d th e r p r sp ti v e s e p r e a th u u a l l a n s s o d e si n ,2no 2p visto suoafinlto worthwhile use. With the explosive challenged in toirema be put is running itlc must be copm ors sigmo ned rigaindaels ca lfio osusrsbkeilsfoto p ohre thaw ileeu,stheConsumerism .production W hethrsi eof enxepdebate lo,si vre egg op w oe fg lo b lrc mme cia rThe evi,sth eairlme ssagenih a orsnw lyg ow mo urrg n Tin ofor d y,our wrld erin eskills n e e is itrtmeaning. expand. ex ecm tpar atuionat nicutat hsat nao reinthgedho eac w lte prna rp eb ie te isse tanuktte eto nw tto rst.h W escope utlu nitc d g d a rra hdth icshrinking; d siuncontested; glethe nua ese s,ofoa dmust ire crto rs,ts. auM nltuda ud c o mmu cbrand ass to hrdevelopment o hto anve bro eremo en atee isth et.d alia w o wrekhw ictth h th te c hitif;n iq ueeo sf of a new kind an d ap o f d v e r t i s v e p e r s i s t l y b e e n r d o u s a t h e m o s r a t i v e , e f e c ti v e , a n d e si r a b o f o u r ta l e n n y e si g n te a c h e r a n d me n r s p i s b e e f ; th e ma e r e w a r d s a ti d marketing and toward exploration and primarily to advertising, marketing, and shift away ok,sligah nd pur,NICK blicda tio1964, nasvANDREW re-id n forycree scrite .communicators E cnoa ulvraeghe dleisn.C tho ism dirm ec tiocnoriginal eo sSHEILA ig rssLEVRANT tahlw eour nacation—a aspskills pa lyBRETTEVILLE, eand ie rbe sk a,b nu dtotima m a gying artia op nforms lWith dfrom o bsishcexplosive uve its,n do ew siglenteitrbceocfo ee,di,ainmo ndme s,daesu terge,w nts, hta irgehl,c are tte c dit.T cglobal arisd,s, sn ecommercial a eo rs,wbth utte culture, their message has growth of lasting, democratic of in part, through the visual languages JONATHAN and resources oftbee InBELL, 22utvisual for to worthwhile use. tobo nrer an an tio ice ia,pd lw rknncall heaa y p idtah th birlimind slput hto icse detiWe ng ethe aproduct lacrg hao icig siis gns,e ew rsred in.D tuern ,gisknh BARNBROOK, HANS DE reversal of priorities favor more useful, wo ldtesper idesign. vfe srtsdes ighe na.rT hty ep rovfeesrBLAUVELT, tim e aentindBOCKTING, nn ersigned gb yrisaIRMA u sthe eeddrBOOM, g e m n d inag slsupporting, th aen rin eo inhelp. sse asiiglg a ercommunist. a nnyme sth ave grme oaw n rh ee acsi nmme glyunrrec colmf rgtarabp ith td he oo fdinegh sith gne scw h rd equ ire our expertise and propose afu dev ou herece oCOOK, im o tsisio inn ga’s ,m rkDIXON, ,a n euvn etlm oGERT pa mueefn tcalturhereinslp uSIMON p o n ,a n dnth iccoth ita etd d resi ,dn aesof me nb lacerm nM vi o sa doin w ssa gleew sre athto itisrvi cgrown g rysiurgent. w aelvyrin itizsk eo nilToday, are endorsing, mental ch tratia b ltg e c afro u ra in n for m tin o nlesu nptlp rta oj ts u rru ge yo only we renew their manifesto zip nari es, efrn xh in b is, tte iose ssim ,,c en aaly tirn o n tool sa ,m teg is o rooks ogr s,a figalg m co ns mtden sires pea kpv,rtirh innme k,ilyfeVAN e l,ta ed o d ndcauin erraalcg Te osdsdo m ed g e d u tinldp vltidruo e me a rnand asnn haeimplicitly a ln cans,tlo dben ooso fkps,u btu licrg dte iszc uas,ritse .o T h eitio rena reeiad pme ucrsu itsnmo w th yhioa onn fo urorg pmore raoms, bve lemso g s-le. MAXUn BRUINSMA, SIÂN LINDA DEURSEN, CHRIS DRENTTEL, ESTERSON, in tdr erci ve tia o soc ia m ke tia nilm g c a p avi ige n ,b by ,mf m p res ce tted einn o nd are l,sssip on cin a l,ro a,n d ltrtu ctltyr.isWILLIAM ee m ae nexdxtep oe urrw a teteaannrDUMBAR, tid oa nh.eM a ninye c u l t u a l i r ve n s, so c i a l ma r k ti g c mp i s, o ma a i n e e x h i b s, u a ti o a l to o l s , te l e vi s p r f i l m s, c h a r itadbu sp o a l , a n d c u l t u r a c i s e s d e m a n d ou r a tte ti o n . Ma n y c u l t u r l ca u s e , a n d o h e r f o r m a t i o n g p j e c t s u g e n r e q u i r o u r t i s e l p . W r o p o se a r e ve r sa l o f p r i o r i t i e s i n f a vo r o f mo r e u se f u l , l a sti n g , a n d d e mo c r a ti c f o r ms o f c o mmu n i c a ti o n — a mi n d sh i f t a w a y f r o m p r o pr ob le m -sol vte in gis skielsrrin .k Un p ru e c ed est n te dx eann vd irth on m eou nta l,with environment so saturated commercial messages VINCE FROST, KEN GARLAND, MILTON GLASER, JESSICA HELFAND, STEVEN HELLER, ANDREW HOWARD, TIBOR KALMAN, m ar k et i n g a n d t o wa r d t h e e x p l o r a t i o n a n d p r o d u c t i o n o f a n e w k i n d o f m e a n i n g . T h e s c o p e o f d e b a sh i n g ; i t mu e p . C o n su me r i s m i s r u n n i n g u n c o n te ste d ; i t mu st b e c h a l e n g e d b y o th e r p e r sp e c ti v e s e x p r e ssec dte,decades will pass before it is pub l i c d i s c ou r se . Th e a r e p r su i t s m or e w or y of r in expectation that no more ra asig re d u tia vith ed im m ecass su rxte arb lyfo hrre ask rm fuato lta chod ofto inapar tn,tlh ro u gwn hthm evoisre ualula negnut.aTgoedsaay,nw de res onuerc esthoefirdm esaignnife .In 1 9in 64e,x 2p 2evc istuaatiolcnotm m uonim cado tro rfts n eyncc d eeaeranns oc-dcrt.w ig in a lm a lsefo o u ilth ss blpe eeinn p utto w ot.rWe, thwhileuthe se.Wiundersigned, ththeexplosivegrowtho fglobagraphic lcommercialdesigners, culture,theirmessa g es p on d , a d n te T o s om e n t w e a r e l e g h s o y g r o r g r e w s t o h a t n r e d e i l p a b e i t i k h e a r are art ve r y w a c i t i z on s u e r s p e a k, i n k, fe e l , JEFFERY KEEDY, ZUZANA LICKO, ELLEN LUPTON, KATHERINE MCCOY, ARMAND MEVIS, J.have ABBOTT MILLER, RICKraised POYNOR, directors, and visual communicators who been in world in which the techniques apparatus of advertising have that itlem is changing the very way speak, iteffective, hdc om me rcm iadecades eassa ge sth apass tn ititsso ch asn gi gte th e use growth of global commercial culture,persistently their message has only grownpresented more urgent. Today, renew manifesto expectation thatw no more been toweus astheir the most lucrative, desirable ofcitizen-consumers our talents. and Many design teachers and mentors ed n or g, an n lsu eand np viprwill on m e tun ra taken to heart. eve ls oin p mtoe apublications rerta ng, anadbefore ia m cniittd lydis taken promote this belief; the market it; a intide of and it. Encouraged in thiscigarettes, direction, designers then LUCIENNE ROBERTS, ERIK and SPIEKERMANN, JAN VAN TOORN,rewards TEAL RUDY VANDERLANS, BOB books WILKINSON p atg dn ve tiscoffee, inw g,h mor atire ke ting, nd bp ralireinforces apply their skill imagination toTRIGGS, sell dog biscuits, designer diamonds, detergents, hair paid gel, cards, dinreim sie gaa nrilsy.inDe si eom rs o vote th e ts sneakers, butt toners, light beer, and heavy-duty recreational vehicles. work has always the bills, but credit many graphic gltyb u nc for bld euw th haCommercial th isegr virieow wfor sc ern tigraphic arlinag e st. Ma n yta of sith ve nofdo. This, designers have now let it become, in large measure, what designers in turn, is how the world perceives design. The fa c tu d e m a n d for th i n gs a t a r e i n e s profession’s time and energy is used up manufacturing demand for things sw ion rgy du ansu-- are inessential at best. Many of us have grown increasingly or’sldtimpeea rcnedive en se d esiisgu ns.eTh epthat pm rofe

FIRST THINGS FIRST

FIRST FIRST THINGS THING S FIRST

a design manifesto

FIRST

a design manifesto

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It wasn’t until I got into high school that Graphic design became an interest. I took a course at the local Tech Center and was immediately impressed with Photoshop. Once I learned about Illustrator I was even more intrigued by design. Type was my favorite element to work with; I was never very skilled with the pen tool, I lacked all patience for it. So I stuck with words and photographs. To say the least my instructor wasn’t impressed with my progress in my work and I decided to not go back to the Tech Center the following year. When I got to Kendall and discovered the Typography classes, I knew I was meant to be here. It’s a place where I wouldn’t be criticized for implementing text into my images. Now, I’ll be graduating in May of 2011 and my next discovery to make is what I intend to do with my degrees. I figure if I’ve stumbled upon these things throughout my life so far, I’ll eventually figure out a way of using my talents in a way I prefer, hopefully!

STEPH// LARSON

Consumerism is running uncontested; it must be challenged by other perspectives expressed, in production of a new kind of meaning. The scope of debate is shrinking; it must expand. communication - a mindshift away from product marketing and toward the exploration and We propose a reversal of priorities in favor of more useful, lasting and democratic forms of charitable causes and other information design projects urgently require our expertise and help. ing campaigns, books, magazines, exhibitions, educational tools, television programs, films, social and cultural crises demand our attention. Many cultural interventions, social marketThere are pursuits more worthy of our problem-solving skills. Unprecedented environmental,

Teal Triggs Jan van Toorn Erik Spiekermann Lucienne Roberts Rick Poynor J. Abbott Miller Armand Mevis Katherine McCoy Ellen Lupton Zuzana Licko Jeffery Keedy Tibor Kalman Andrew Howard Steven Heller Jessica Helfand Milton Glaser Ken Garland Vince Frost Simon Esterson Gert Dumbar William Drenttel Chris Dixon Linda van Deursen Sian Cook Max Bruinsma Sheila de Bretteville Irma Boom Hans Bockting Andrew Blauvelt Nick Bell Jonathan Barnbrook

jonathan barnbrook extent we are all helping draft a reductive and immeasurably harmful code of public discourse. nick is changingbell the very way citizen-consumers speak, think, feel, respond and interact. To some and implicitly endorsing, a mental environment so saturated with commercial messages that it andrew devote their effortsblauvelt primarily to advertising, marketing and brand development are supporting, Many of us have grown increasingly uncomfortable with this view of design. Designers who barnbrook jonathan hans bockting up manufacturing demand for things that are inessential at best. nick bell irma do. This, inboom turn, is how the world perceives design. The professionâ&#x20AC;&#x2122;s time and energy is used but many graphic designers have now let it become, in large measure, what graphic designers andrew blauvelt sheila bretteville ers, light beerde and heavy-duty recreational vehicles. Commercial work has always paid the bills, cuits, designer coffee, diamonds, detergents, hair gel, cigarettes, credit cards, sneakers,bockting butt tonhans max bruinsma Encouraged in this direction, designers then apply their skill and imagination to sell dog bisirma boom sian cook publications reinforces it. design teachers and mentors promote this belief; the market rewards it; sheila a tide of books and de bretteville linda van been presented to us asdeursen the most lucrative, effective and desirable use of our talents. Many been raised in a world in which the techniques and apparatus of advertising have persistently max bruinsma chris dixon We, theare undersigned, are graphic designers, directors and We, the undersigned, graphic designers, art directors andart visual communicators who have jonathan barnbrook visual communicators who have been raised in a world in which first sian cook william drenttel techniques and apparatus of advertising have persistently been first: Thingsthe belleffective and desirable presented to us asnick the most lucrative, use of van deursen linda gert dumbar our talents. Many design teachers and mentors promote this belief; things andrew the market rewards it; a tide of booksblauvelt and publications chris reinforces it. dixon simon first esterson hans bockting skill and Encouraged in this direction, designers then apply theirwilliam drenttel vince frost imagination to sell dog biscuits, designer coffee, diamonds, deterirma boom gents, hair gel, cigarettes, credit cards, sneakers, butt toners, light dumbar gert ken garland beer and heavy-duty recreational vehicles. Commercial work has sheila de bretteville paid the bills, but many graphic designers have now let it besimon esterson miltonalways glaser come, in large measure, what graphic designers2000 do. This, in turn, is max bruinsma the world perceives design. The professionâ&#x20AC;&#x2122;s time vince and energy frost jessica how ishelfand used up manufacturing demand for things that are inessential at sian cook ken garland steven best. heller linda van deursen of us have grown increasingly uncomfortable with this view milton glaser andrewMany howard of design. Designers who devote their efforts primarily to adverchris dixon tising, marketing and brand development are supporting, and jessica helfand tibor kalman implicitly endorsing, a mental environment so saturated with comwilliam drenttel messages that it is changing the very way citizen-consumers steven heller jeffery mercial keedy speak, think, feel,gert respond and interact. To some extent we are all dumbar draft a reductive and immeasurably harmful code of public andrew howard zuzanahelping licko discourse. simon esterson tibor kalman ellen lupton There are pursuits more worthyfrost of our problem-solving skills. vince Unprecedented environmental, social and cultural crises demand jeffery keedy katherine mccoy our attention. Many culturalgarland interventions, social marketing camken paigns, books, magazines, exhibitions, educational tools,zuzana television licko armand mevismilton programs, films, charitable causes and other information design glaser ellen lupton projects urgently require our expertise and help. j. abbott miller jessica helfand katherine mccoy We propose a reversal of priorities in favor of more useful, lasting rick poynor and democratic forms of communication-a mindshift away from steven heller armand mevis product marketing and toward the exploration and production of lucienne roberts a new kind of meaning. The scope ofhoward debate is shrinking; it must andrew j. chalabbott miller expand. Consumerism is running uncontested; it must be erik spiekermann lenged by other perspectives expressed, in part, through the visual tibor kalman rick poynor and resources of design. jan vanlanguages toorn jeffery keedy lucienne roberts In 1964, 22 visual communicators signed the original call for our teal triggs skills to be put tozuzana worthwhile use. With the explosive growth of licko erik global commercial culture, their message has only grown more ur-spiekermann rudy vanderlans gent. Today, we renew their manifesto in expectation that no more ellen lupton jan van toorn decades will pass before it is taken to heart. bob wilkinson

andrew blauvelt chris dixon jonathan barnbrook hans bockting william drenttel nick bell irma boom gert dumbar andrew blauvelt sheila de bretteville simon esterson hans bockting max bruinsma vince frost irma boom sian cook ken garland sheila de bretteville linda van deursen milton glaser max bruinsma chris dixon jessica helfand sian cook william drenttel steven heller linda van deursen gert dumbar andrew howard chris dixon simon esterson tibor kalman william drenttel vince frost jeffery keedy gert dumbar ken garland zuzana licko milton glaser ellen lupton simon esterson vince frost 2000 jessica helfand katherine mccoy ken garland steven heller armand mevis milton glaser andrew howard j. abbott miller jessica helfand tibor kalman rick poynor steven heller jeffery keedy lucienne roberts andrew howard zuzana licko erik spiekermann tibor kalman ellen lupton jan van toorn jeffery keedy katherine mccoyteal triggs zuzana licko armand mevis rudy vanderlans ellen lupton j. abbott miller bob wilkinson katherine mccoy rick poynor armand mevis lucienne roberts j. abbott miller erik spiekermann rick poynor jan van toorn lucienne roberts teal triggs erik spiekermann rudy vanderlans jan van toorn bob wilkinson teal triggs rudy vanderlans bob wilkinson

e propose a reversal of priorities in favor of more useful, lasting and democratic forms of mmunication-- a mindshift away from product marketing and toward the exploration and oduction of a new kind of meaning. The scope of debate is shrinking; it must expand. onsumerism is running uncontested; it must be challenged by other perspectives expressed, in rt, through the visual languages and resources of design.

jonathan barnbrook nick bell andrew blauvelt hans bockting irma boom sheila de bretteville max bruinsma sian cook linda van deursen chris dixon william drenttel gert dumbar simon esterson vince frost ken garland milton glaser jessica helfand steven heller andrew howard tibor kalman jeffery keedy zuzana licko ellen lupton katherine mccoy armand mevis j. abbott miller rick poynor lucienne roberts erik spiekermann jan van toorn teal triggs rudy vanderlans bob wilkinson

ncouraged in this direction, designers then apply their skill and imagination to sell dog biscuits, esigner coffee, diamonds, detergents, hair gel, cigarettes, credit cards, sneakers, butt toners, light eer and heavy-duty recreational vehicles. Commercial work has always paid the bills, but many aphic designers have now let it become, in large measure, what graphic designers do. This, in rn, is how the world perceives design. The professionâ&#x20AC;&#x2122;s time and energy is used up manufacturg demand for things that are inessential at best.

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

Manifesto ADesign

1st:

irstThings

Manifesto

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

Design

here are pursuits more worthy of our problem-solving skills. Unprecedented environmental, cial and cultural crises demand our attention. Many cultural interventions, social marketing mpaigns, books, magazines, exhibitions, educational tools, television programs, films, charitable uses and other information design projects urgently require our expertise and help.

A 1st:

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

A Design Manifesto 2000

26 t r

g t i

a c

s c c c p p I u u b

RYAN//

LOCKWOOD

28 I look at every project, however large or small as an opportunity to alter peoples perceptions and most importantly, I live in a place where concepts rule great design.

31 I first started out designing tattoos at a young age and always had an interest in art. Growing up I knew that I had the talent to draw and pushed myself to become better and learn about different kinds of design. In high school I took graphic design classes and loved it form the beginning. Ever Since then, I knew what I wanted to do for the rest of my life.

BRITTANI//

PARMER

A Design Manifesto 2000

Jessica Helfand Steven Heller Andrew Howard

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. Many of us have grown increasingly uncomfortable with this view of design. De-

Tibor Kalman

2000 A Design Manifesto

First

2000

Thing

We, We, the the undersigned, undersigned, are are graphic designers, graphic designers, art directors art directors and and communicavisual visual communicators have who been have been tors who a world raisedraised in a inworld in which the techin which the techniquesniques and and appa- appaof advertising ratus ratus of advertising persistently have have persistently presented to been been presented to us as the lucramost lucraus as the most effective tive, tive, effective and and desirable desirable use ofuse ourof our talents. talents. Many Many designdesign teachers and menteachers and menpromote tors tors promote this this the market belief;belief; the market rewards it; a oftide of rewards it; a tide and publicabooksbooks and publications reinforces it. tions reinforces it. Encouraged Encouraged this direction, in thisindirection, de- designers signers then then apply apply theirand skillimagiand imagitheir skill to dog sell dog nationnation to sell biscuits, designer biscuits, designer diamonds, coffee,coffee, diamonds, detergents, hair gel, detergents, hair gel, cigarettes, cigarettes, credit credit sneakers, cards,cards, sneakers, butt butt toners,toners, light light beer beer and heavy-duty and heavy-duty rec- recreational vehicles. reational vehicles. Commercial Commercial work work has has alwaysalways paid paid the bills, but many the bills, but many graphic designers graphic designers have let nowit let have now be- it bein large come,come, in large mea- meagraphic sure, sure, what what graphic designers do. This, designers do. This, in turn, is the how the in turn, is how perceives world worldperceives design. The profesdesign. The profestimeenerand enersion’s sion’s time and gy is up used up manugy is used manufacturing demand for facturing demand for thatinesare inesthingsthings that are at best. sentialsential at best. of Many Many of us have inus have growngrown increasingly uncomcreasingly uncomfortable fortable with with this this view of design. view of design. De- De-

First

We, the undersigned, are graphic designers, art diJeffery Keedy rectors and visual communicators who We, have been Jonathan Barnbrook the raised in a We, the We, the Zuzana Licko world in which the techniquesundersigned, and apparatus ofare advertising have undersigned, are undersigned, are Nick Bell We, the persistently been presented graphic to us as the most lucrative, effecLupton designers, graphic Ellen designers, graphic designers, undersigned, are tive and desirable use of ourBlauvelt talents. Many design art directors and teachers and art directors and art directors and Andrew Katherine McCoy graphic designers, mentors promote this belief;visual the market rewards it; a tide of communicavisual communicavisual communicaart directors and Hans Bockting books and publications reinforces it. have been tors who tors who have been tors who have been Armand Mevis visual communicaEncouraged this direction, raised in adesigners world then apply We, the undersigned, raised in aareworld raised in a world graphic designers, art diIrmainBoom tors who have been J. Abbott Miller their skill and imagination toinsellwhich dog biscuits, designer coffee, the techin which the who techin which the techrectors and visual communicators have been raised in a raised in a world Sheila Levrant de Bretteville diamonds, detergents, hair gel, cigarettes, sneakniques and credit appa- cards, niques and and appaniques and appaworld in which the techniques apparatus of advertising have Rick Poynor in which the techers, butt toners, lightMax beer and heavy-duty recreationalpersistently vehicles. been presented ratus of advertising ratus oftoadvertising ratus of advertising us as the most lucrative, effecBruinsma niques and appaLucienne Roberts Commercial work has alwayshave paid the bills, but many persistently persistently have persistently tivegraphand desirable usehave of our talents. Many design teachers and ratus of advertising Sianlet Cook ic designers have now itbeen become, in largetomeasure, whatpromote thisbeen presented presented to rewards it; a tide of been presented to mentors belief; the market Erik Spiekermann have persistently graphic designers do. This, in turn, is most how the world books perceives as the lucraus reinforces as the most us as the most lucraand publications it. lucraLinda vanusDeursen been presented to Jan van Toorn design. The profession’s timetive, and energy effectiveis used and up manufac- Encouraged tive, effective anddesigners then apply tive, effective and in this direction, us as the most lucraChris that Dixon turing demand for things are inessential best. their skill and imagination desirable use ofatour desirable use ofTriggs our desirable use of our to sell dog biscuits, designer coffee, Teal tive, effective and Many of us have talents. grown increasingly uncomfortable talents. Many design credit cards, sneaktalents. Many design diamonds, detergents, hair gel, cigarettes, William Drenttel Many design desirable use of our with this view of design. Designers VanderLans teachers who and devote men- their and men- recreational vehicles. teachers and meners,efforts butt toners, light teachers beer Rudy and heavy-duty talents. Many design primarily to advertising, and brand this development are work hastors Gert marketing Dumbar tors promote promote tors promote this Commercial always paid thethis bills, but many graphBob Wilkinson teachers and menJonathan Barnbrook supporting, and implicitly endorsing, a mental environment so belief; the market belief; market First g s market T h i n the i r s t belief; ic designers have now let it the become, in large measure,Fwhat Simon Esterson tors promote this saturated with commercial messages is changing the very rewards that it; aittide of a tide of the world perceives graphic designers do.rewards This, init; turn, is how i f eofs t o g n Mit;a an tide A D e s i rewards Nick Bell belief; the market way citizen-consumers speak, think, and feel, publicarespond anddesign. interact. books books books and publicaVince Frost The profession’s timeand andpublicaenergy is used up manufacrewards it; a tide of To some extent we are all helping draft a reductive and immeaAndrew Blauvelt tions reinforces it. tionsthat reinforces it. tions reinforces it. turing demand for things are inessential at best. books and publicaGarland surably harmful codeKen of public discourse. Encouraged Encouraged Encouraged Many of us have grown increasingly uncomfortable Hans Bockting tions reinforces it. There areMilton pursuits moredirection, worthy of problemin this de-our with in thisDesigners direction, who de- devote their efforts in this direction, dethis view of design. Glaser Encouraged solving skills. Unprecedentedsigners environmental, social and cultural then apply signers then and apply signers then apply Irma primarily to Boom advertising, marketing brand development are in this direction, deWe, the undersigned, areand graphic designers, art direccrises demand our attention. their Manyskill cultural interventions, social and implicitly and imagitheir skill and imagitheir skill imagisupporting, endorsing, a mental environment so signers then apply Sheila Levrant de Bretteville tors and visual communicators marketing campaigns, books, magazines, educa- with commercial nation to sellexhibitions, dog nationmessages to sell that dogit is changing the very nationwho to have sell been dog raised in a world saturated their skill and imagi-in which the techniques and apparatus of advertising have persistional tools, television programs, films, designer charitable causes and biscuits, designer biscuits, designer way citizen-consumers speak, think, feel, respond and interact. Max Bruinsma biscuits, nation to sell dogtently been presented to us as the most lucrative, effective and other information design projects urgently require ourTo expertise coffee, diamonds, coffee, diamonds, coffee, diamonds, some extent we are all helping draft a reductive and immeabiscuits, designer desirable use of our talents. Many design teachers and mentors Cook code detergents, and help. detergents, hair gel, hair gel, detergents, hair gel, surably Sian harmful of public discourse. coffee, diamonds,promote this belief; the market rewards it; a tide of books and We propose a reversal of priorities in favor of more cigarettes, credit cigarettes, credit cigarettes, credit There are pursuits more worthy of our problemJessica Helfand Linda van Deursendetergents, hair gel,publications reinforces it. useful, lasting and democratic of communication—a cards,forms sneakers, butt cards, sneakers, butt cards, sneakers, butt solving skills. Unprecedented environmental, social and cultural cigarettes, credit Encouraged in this direction, designers then apply their skill Steven Heller Chris Dixon mindshift away from producttoners, marketing and beer toward the explolight toners, Many light cultural beer interventions, toners, light beer crises demand our attention. social cards, sneakers, buttand imagination to sell dog biscuits, designer coffee, diamonds, ration and production of a new of meaning. scope of campaigns, andkind heavy-duty rec- Themarketing heavy-duty rec- exhibitions, educaand heavy-duty recbooks, magazines, Andrew Howard William Drenttel and toners, light beerdetergents, hair gel, cigarettes, credit cards, sneakers, butt tondebate is shrinking; it must reational expand. Consumerism is running vehicles. reational reational vehicles. tional tools, television programs,vehicles. films, charitable causes and and heavy-duty rec-ers, light beer and heavy-duty vehicles. Commercial Tiborrecreational Kalman work uncontested; it must be challenged by otherwork perspectives exGert Dumbar design Commercial Commercial work require our expertise Commercial other information projects urgently reational vehicles. work has always paid the bills, but many graphic pressed, in part, through thehas visual always languagespaid and resources of has always paid has always paid designers have and help. Jeffery Keedy Simon Esterson Commercial worknow let it become, in large measure, what graphic designers do. design. the bills, but many thea bills, butof many the bills, but many We propose reversal priorities in favor of more has always paidThis, in turn, is how the world perceives design. The profession’s Zuzana Licko In 1964, 22 visual graphic communicators signed the original Vince Frostand graphic designers graphic designers useful, lasting democraticdesigners forms of communication—a the bills, but many time and energy is used up manufacturing demand for things that call for our skills to be put to have worthwhile use.itWith explosive away from have now let be- the mindshift now let it behave now let product marketing and toward the exploEllen Lupton it beKen Garland graphic designersare inessential at best. growth of global commercialcome, culture, their meamessageration has only in large in large come, in large meaand productioncome, of a new kind meaof meaning. The scope of have now let it beMany of us have grown increasingly uncomfortable grown more urgent. Today, we renewwhat their manifesto expectaKatherine sure, graphic indebate sure, graphic sure, whatMcCoy graphic Milton Glaser is shrinking; it mustwhat expand. Consumerism is running come, in large mea-with this view of design. Designers who devote their efforts tion that no more decades will pass before is taken uncontested; to heart. designers do. it This, do. by This, designers do. This, it must designers be challenged other perspectives exArmand Mevis what graphicprimarily to advertising, marketing and brand development are Jessica Helfand sure, in turn, is how the in turn, is how the in turn, is how the pressed, in part, through the visual languages and resources of designers do. This,supporting, and implicitly endorsing, a mental environment so world perceives world perceives world perceives J. Abbott Miller design. in turn, is how thesaturated with commercial messages that it is changing the very design. The profesThe profes- signed the original design. The profesIn 1964, 22design. visual communicators world perceivesway citizen-consumers speak, Rickthink, Poynor feel, sion’s time and enerand enersion’s time andrespond ener- and interact. To call for our skills to besion’s put totime worthwhile use. With the explosive design. The profes-some extent we are all helping draft a reductive and immeasurgy is used up manugy is usedculture, up manugy is usedRoberts up manugrowth of global commercial their message has only Lucienne sion’s time and ener-ably harmful code of public discourse. facturing demand for facturing demand formanifesto in expectafacturing demand for grown more urgent. Today, we renew their gy is used up manuare pursuits worthy of our problem-solving Erikmore Spiekermann things that are inesthingswill that arebefore ines- it is takenThere things that are inestion that no more decades pass to heart. facturing demand forskills. Unprecedented environmental, social and cultural crises sential at best. sential at best. sential at best. Jancultural van Toorn things that are ines-demand our attention. Many interventions, social marketMany of Many of Many of sential at best. exhibitions, Tealhave Triggs us have grown inus have grown in-ing campaigns, books, magazines, us grown in- educational tools, Many oftelevision programs, films, charitable causes and other informacreasingly uncomcreasingly uncomcreasingly uncomRudy VanderLans us have grown in-tion design projects urgently require our expertise and help. fortable with this fortable with this fortable with this creasingly uncomWe propose a reversal of priorities Bob Wilkinson view of design. Deview of design. Deview of design. De- in favor of more fortable with thisuseful, lasting and democratic forms of communication—a mindview of design. De-shift 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. 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. Many of us have grown increasingly uncomfortable with this view of design. De-

2000

eville

First Things First

Steven Helle

Andrew How

Tibor Kalman

Jeffery Keed Zuzana Lick

Ellen Lupton Katherine M

Armand Mev

J. Abbott Mi Rick Poynor

Lucienne Ro

Erik Spieker

Jan van Too Teal Triggs

Rudy Vander

Bob Wilkinso

ANDY//

PENINGER

36 Design is whatever you make of it, design has endless possibilities, and this is why design appeals to me.

39 I have a desire to creating things that are captivating and beautiful. I use color to pull at your heartstrings and well-kerned type to satisfy your need for perfection. I engage the senses and push design into a world that goes further than a flat piece of paper. If you can feel it, see through it, or want to get a closer look, I have done my duty. But my designs are not just for show, they are a piece of my heart created into ink and dripped onto my canvas.

KENDRA//

RUBECK

E W (2000)

Bruinsma,Sian Cook, Linda van Deursen, Chris Dixon, William Drenttel, Frost, Ken Garland, Milton Glaser,Jessica Helfand, Steven Heller,

ARE GRAPHIC DESIGNERS,

a Boom, Sheila de Bretteville, Max

Jonathan Barnbrook, Nick Bell, Andrew Blauvelt, Hans Bockting,Irm

Andrew Howard, Tibor Kalman,

Jeffery Keedy, Zuzana Licko, Ellen Lupton,Katherine McCoy,Armand

&ART DIRECTORS

Gert Dumbar, Simon Esterson, Vince

VISUAL COMMUNICATORS

Mevis, J. Abbott Miller, Rick Poynor,

A DESIGN MANIFESTO y VanderLans, Bob Wilkinson

Lucienne Roberts,Erik Spiekermann, Jan van Toorn,Teal Triggs,Rud

(2000

persistently been who have been raised in a world in which the techniques and apparatus of advertising have teachers and mentors design Many presented to us as the most lucrative, effective and desirable use of our talents. ged in this direction, it.Encoura reinforces ns promote this belief; the market rewards it; a tide of books and publicatio detergents, hair gel, , diamonds coffee, designers then apply their skill and imagination to sell dog biscuits, designer ial work has Commerc vehicles. al recreation cigarettes, credit cards, sneakers, butt toners, light beer and heavy-duty designgraphic what measure, large in but many graphic designers have now let it become, bills, the undersigned, paid the alwaysWe, uring manufact up used is energy and time design. The profession’s perceives worldBell, is how theNick This, in turn, ers do.Jonathan Barnbrook, Andrew Blauvelt, Hans Bockting,Irma Boom, Sheila de Bretteville, of view this with table uncomfor ly increasing Drenttel, Gert Dumbar,Simon grown of us have l at best.Many Max Cook, Linda van Deursen, Chris Dixon,William things that are inessentia forBruinsma,Sian demand g, supportin are ent developm brand and Frost,Ken Helfand, Steven Heller, Andrew Howard, Tibor to advertising, marketing efforts primarily Glaser,Jessica their Garland,Milton Designers who devote design.Esterson,Vince very the Kalman,J effery Keedy, Zuzana Licko, Ellen Lupton,Katherine McCoy, Armand Mevis, J. Abbott Miller, Rick changing is it that messages al endorsing, a mental environment so saturated with commerci and implicitly Poynor, Lucienne Roberts,Erik Spiekermann, Jan van Toorn,Teal Triggs, Rudy VanderLans, Bob Wilkinson reductive a draft helping all are we extent way citizen-consumers speak, think, feel, respond and interact. To some are graphic designers, art directors and visual communicators problem-solving skills. and immeasurably harmful code of public discourse.There are pursuits more worthy of our interventions, cultural Many our attention. who have been raised in a world in which thedemand techniques and apparatus of advertising havesocial persistently crises and cultural ental, social environm ented Unpreced causesteachbeen presented to us as the most lucrative, effective and desirable use of our talents. Many design charitable films, , programs television s, books, magazines, exhibitions, educational tools, campaign marketing ers and mentors promote this belief; the market rewards it; a tide of books and publications reinforces in priorities of reversal a propose help.We require our expertise and projects urgently informationindesign and other it.Encouraged this direction, designers then apply their skill and imagination to sell dog biscuits, deand marketing product from away mindshift cation—a communi ic forms lasting and democrat detergents, hairof gel, cigarettes, credit cards, sneakers, butt toners, light beer and useful, diamonds, of morecoffee, favor signer expand. must it ; shrinking is debate of scope paid the bills, but many graphic designrecreational vehicles. work hasThe always new kind of meaning. n of aCommercial n and productio the exploratio towardheavy-duty ers have now let it become, measure, graphic designers do. This, turn,through is howthe the world , ininpart, es expressed perspectiv d by other challengewhat must be uncontested;init large running is ism Consumer perceives design. The profession’s time and energy is used up manufacturing demand for things be are tothat skills our for call original the signed 22 visual communicators resources ofofdesign.In languages and visualinessential at best.Many us have1964, grown increasingly uncomfortable with this view of design. Designers grown more message has only theirdevelopment culture, al and of global commerci the explosive devote theirWith efforts primarilygrowth to advertising, marketing brand are supporting, and le use. worthwhi put towho taken is it before pass will decades no morewith implicitly endorsing, a mental environment saturated commercial messages that ittoisheart. changing the n that in expectatioso manifesto renew their Today, we urgent.

FIRST THINGS FIRST

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.

a design manifesto

first things first 2000

MARC//

SCATTURO

I should have been born in Switzerland during the 40â&#x20AC;&#x2122;s. I like things simple, clean, bold, dynamic, and mostly asymmetrical. I also have a penchant for bold colors. Wim Crouwel is the man! Bayer, Tschichold, Moholy-Nagy, Rothko, Vignelli, Place, and the people at Experimental Jetset arenâ&#x20AC;&#x2122;t that bad either... When I grow up, I want to design well.

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. 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 citizenconsumers 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.

Jonathan Barnbrook • Nick Bell • Andrew Blauvelt • Hans Bockting • Irma Boom • Sheila de Bretteville • Max Bruinsma Sian Cook • Linda van Deursen • Chris Dixon • William Drenttel • Ger t Dumbar • Simon Esterson • Vince Frost Ken

Garland

•

Milton

Glaser

•

Jessica

Helfand

•

Steven

Heller

•

Andrew

Howard

•

Tibor

Kalman

J e f f e r y K e e dy • Z u z an a L i c k o • El l en Lu p ton • Ka th erin e Mc Coy • A r m a n d Mev is • J. A b b ott Mil l er • Ric k P oyn or Lucienne Roberts • Erik Spiekermann • Jan van Toorn • Teal Triggs • Rudy VanderLans • Bob Wilkinson

A Design Manifesto 2000

First Things First:

47 To me, a successful design is one that has the same captivating quality whether it is being viewed for the first or the hundredth time. It should make the viewer ask questions. It is my belief that this can be accomplished through the cleanest simplest layouts of text, or through a completely illegible design focused purely on form. Everything communicates a message. To make people stop, think about this message, and think about what they are looking at, that is my ultimate goal.

ANDREW//

SCHMIDT

JANESSA//

VANOEFFELEN

52 Graphic designers shape messages to create powerful and effective communication. I believe in creating designs that are clean, easy to interpret, and are a physical representation of the message that is being communicated. Clean lines, appealing color palettes, typographic elements intertwined with graphic images, and a reference to mid-century modern design can be seen in my work. I enjoy mixing references to retro mid-century modern design with geometric designs. Designs that reference the past: warm, comforting, and persuasive, mixed with designs that reference the modern practicality of geometrics. Think all the classic, comforting shapes of mid-century informed by the same kind of rationalist thinking that inspired the great sans serifs of the Bauhaus. Geometrics abandon traditional forms in favor of mathematical strategies. My design work process demonstrates present day modern design that references mid-century modern design to hit just the right notes of forthrightness, credibility, and (best of all) charm.

First Things First:

{A Design Manifesto} 2000 W e, 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.

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Encouraged in this direction, designers then apply their skill and imagination We propose a reversal of priorities to sell dog biscuits, designer coffee, in favor of more useful, lasting and diamonds, detergents, hair gel, cigarettes, democratic forms of communication—a credit cards, sneakers, butt toners, mindshift away from product marketing light beer and heavy-duty recreational and toward the exploration and vehicles. Commercial work has always production of a new kind of meaning. paid the bills, but many graphic The scope of debate is shrinking; it designers have now let it become, in must expand. Consumerism is running large measure, what graphic designers uncontested; it must bes, challenged errexpressed, s nto do. This, in turn, is how the world by other perspectives in sigald dneoic ic uinns , r h tlanguages u a p m r a e w a r perceives design. The profession’s time part, through the visual and e m g p e b a o p e iv c r a r ,a ld adesign. ly rat u inndtentlu and energy is used up manufacturing deresources ignevdisauuisaeeof sisousste eocr sff ; aotanhnded pseelerm nrsbraesnecdnhnariq h uto e c e e h v a t demand for things that are inessential e h t e c , e b b edirheatvhee int g uhs eassiriag nt hti sof bol ioks W dd etse22 awrthhoic evisual r tdisIn tnod1964, at best. h communicators e id . t v it o y d e a a t s a n ; w ap rrodm itorceoriginal call fornour rns , skills to e. M s the opfrfeescetniv f signed s igatfeio a in t s e, e f r w n et a leen teot rioens r , daregsin oetfeteeWith nim c io k t Many of us have grown increasingly be put to wor thwhile use. the rsass,l t r m r a c a e a c e n d li n ig n m ir n o b c ig t a d io u s l, t p ahyi c gbeurglobal ttcrseaaalw uncomfortable with this view of design. explosive commercial tirhisgrowth skitilssl,, hdaseir, of p in e in , a u e r s e d c h y r t r g h gpelyogt tbeisrtheir en ke-dwuot raknbyehas noer ldegrown Designers who devote their effortscouarpaculture, ceosmigw only lt m ds, ddes, sghneeeracaviauymessage ingl Ethnenseollnmore ’stutim tshdioefnarenew lertaopitwheicswe b primarily to advertising, marketing and Today, c m , w enr tia their g tdoiaemditbedce. arCr oanbmdurgent. s s o l u s t l f h n i n a e o a h r e in is r p clighhticlemanifesto , expectation brand development are supporting, hehuapt m are that no more tsehreesashuarvetig rninn. T u, w vpeaeisdigndecades sgesdtbefore and implicitly endorsing, a mental it is takensto lyn. isthuinpass dlao hivisee,srgindyer swill g. eTem ingheart. r coref adeeffsoaigrntdsg, environment so saturated withdpenrdc aenntd. fo in n w g rowvieheir tin r tinttahgl bes commercial messages that it is changingadaet m veitdhegvthogiste, rmetar,skueapdpmoaenwngiin haw k, s u le is the very way citizen-consumers speak, t b o toraastinutgrita tiseecrhsrascptd.eraTafouftl f r a hdvemenndin alo s m noymnofeoyrrsttow a e p t g a u h m e t s r think, feel, respond and interact. To M in in n o a c s e sig ril delviceitnlytesssizageen-caoanlld rhaeblply h uneim some extent we are all helping draft D m cit ndreeasseu. pbrradnadriomnrpcm mur wlayreswpeoimcao aennm v i e ia r cthoeinkvm,erfeyexteivtl,eenbatlincddis ofntouteur adyl retcheycduelM n tshormedeuocf pu o a w r in t ngs, re np dtiona. rkiteio acode n lem ibgorat hmetslyr, ilclsoi.alaUtotaecnia itssskm h u x s o r r o , g u , unrsg,azsviniseiosna npdurgen re-sponlvtin e am a s chtes lp. navdleknst,oio a m ndmeinem r Tphroevbrirle , tealeu soeje o e ecnrislteusraaigl nns,tabrl oi ttoaoboellsseigrntciseprand itinedsa a d pe ccuamupca, tio pstriitnoiogrnea— srmecahtoiounr ex f efidl m o a l ngdgit. a k l o aful,unticmoarn anatin f in in erssem v m ; requir i e c e r t g u u a m in d o r f cpro l o of rink nninegd orsoeom e ram orptooicsffom rh eewetxekpinrisdismshchisearslluseeensdg,anind r f p y a t o e awd a nebamebeexnpgruag faovschrifaw W idnein m d t o tioanr oof fCdonmsuuivset sl la m apnrhodeduscectxoeppsaetnepdde.;r tsithpeeigcnvtis. ua s t nt r gh es a t o hrtoel Tmnucso uunr isciktilhelsrtcw ian ubyar to,utthrhcereosuof d m m o mgrotherire preso mw acl acillloefoburasleco.oW oar t. enoo m v iinsthualw hglohas reannt ly 2 ig f 2 t he r e o e , r o h n g t 4 w o e h a t e k 6 s n , w a s h y 9 t w t e io a Isnigen1epdustivtetohgerirnot.mxTpoedecfotaret it is e b bexpltlo re, rogeilin l pass cmuoanureifdeeusstw m deca

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Jonathan Barnbrook Nick Bell Andrew Blauvelt Hans Bockting Irma Boom Sheila de Bretteville Max Bruinsma Sian Cook Linda van Deursen Chris Dixon William Drenttel Gert Dumbar Simon Esterson Vince Frost Ken Garland Milton Glaser Jessica Helfand Steven Heller Andrew Howard Tibor Kalman Jeffery Keedy Zuzana Licko Ellen Lupton Katherine McCoy Armand Mevis J. Abbott Miller Rick Poynor Lucienne Roberts Erik Spiekermann Jan van Toorn Teal Triggs Rudy VanderLans Bob Wilkinson

a reductive and immeasurably harmful code of public discourse.

55 The world around us is filled with designs, some good and some bad. I feel that itâ&#x20AC;&#x2122;s my job to design a better world, to use the tools I have to create amazing things and to forge a new path for the next generation. Using these designs allows me to create an outlet for my thoughts and feelings, letting them take on shapes and forms. I feel in some aspects I can use these skills to help make the world a better (or better looking) place to live in.

RICKY// WYMA

57 First Things Things First: First: A A Design Design Manifesto Manifesto 2000 2000 First First Things First: A Design Manifesto 2000 Manifestoart2000 Firstthe Things First: are A Design We, undersigned, graphic designers, directors and visual communicators who have been raised First Things First: are A Design Manifestoart We, the undersigned, graphic designers, designers, art2000 directors and and visual visual communicators communicators who who have have been been raised raised We, the undersigned, graphic directors in a world in which theare techniques and apparatus of advertising have persistently been presented to us as 2000 toadvertising Manifes A Design in First: a world world in which which theare techniques Things graphic and apparatus designers, apparatus art directors of advertising and visual havecommunicators persistently been whopresented have been toraised us as We, theFirst undersigned, in in the techniques and of thea have

persistently been to us as design the most teachers lucrative, effective andpresented mentors promote and desirable use ofdirectors our talents. Many We, the undersigned, graphic designers, artof and Many visual communicators who have been the most in a most world lucrative, effective and desirable desirable use our talents. design teachers andpresented mentors promote inthe which theare techniques and apparatus of advertising the have persistently effective and been use toraised of and us as our talents. Many this belief;lucrative, design teachers market and rewards mentors promote it; a tide of books publications reinforces it. Cook in Sian a world in which therewards techniques and of advertising graphic have persistently been Barnbrook ed,it; to us as Jonathan this most belief; thethe undersign market it;desirable aare and tide apparatus of books We, use of and and publications our talents. reinforces Many design it. teachers andpresented mentors designer promote the lucrative, effective this belief; the market rewards a tide of books publications reinforces it. Encouraged to sell dog in this biscuits, direction, designers then apply their skill and imagination the most lucrative, and desirable use of our talents. Many design teachers and mentors and visual promote Deursen art directors Linda van , effective designers Nick Bell communicators who have been raised Dixon Chris Andrew Blauvelt in a world in which the techniques William Drenttel Hans Bockting and apparatus of advertising have Encouraged this belief; in market thisdetergents, direction, designers then apply their skill and and imagination imagination to sell sell dog biscuits, biscuits, designer designer the rewardsdesigners it; a gel, tidecigarettes, of books and Encouraged publications in reinforces this direction, it. then apply their skill coffee, diamonds, to hair credit cards, sneakers, buttit. toners,dog light beer and heavythis belief; the market rewardsdesigners it; a gel, tidecigarettes, of books and publications reinforces coffee, diamonds, detergents, hair then credit apply cards, their skill sneakers, and imagination buttmany toners, to lightbiscuits, sellgraphic dog beer and heavydesigner Encouraged in this direction, coffee, diamonds, detergents, hair gel, cigarettes, credit cards, sneakers, butt toners, light beer and heavybut duty recreational vehicles. designers Commercial have work has always paid the bills, Encouraged in this direction, designers then apply their skill and imagination to sell dog biscuits, designer duty recreational coffee, diamonds, vehicles. Commercial work has has always alwayscards, paid the the bills, but but many many graphic graphicbeer designers have detergents, hair gel,what cigarettes, duty recreational sneakers, vehicles. work and heavypaid now let bills, it become, in large Commercial designers have measure, graphiccredit designers do. This, in butt turn,toners, is howlight the world perceives

First Things First: Apersistent Design ly Manifesto 2000to us as the been presented

Irma Boom

Gert Dumbar

Simon Esterson

Sheila Levrant de Bretteville most lucrative, effective and desirable We, the undersigned, are graphic Jessica Helfand Jonathan Barnbrook coffee, diamonds, detergents, designers, art now directors and visual hair gel, cigarettes, credit cards, sneakers, butt toners, light beer and heavynow let it become, in large measure, Commercial what graphic work has designers always do. paid This, the inbut bills, turn, isthings how many the graphic world designers perceives duty have recreational vehicles. Steven Heller Nick Bell let The it become, in large measure, whatisgraphic designers do. This, in turn, how the perceives demand design. foris profession’s thatworld are inessential time and energy used up manufacturing duty recreational vehicles. communicators now who let have been raised Commercial work has up always paiddo. theThis, bills, many graphic designers have design. 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Helfand publications reinforces it.market rewards it; a tide of Linda publications reinforcesJessica books n to sell dog biscuits, designer imaginatio and skill their Steven Heller Chris Dixon Encouraged in this direction, designers ed in this direction, designers then apply Encourag toners, light beer and heavybutt sneakers, cards, credit , then apply their skill and imagination cigarettes gel, hair s, detergent , Andrew Howard William Drenttel coffee, diamonds to sell dog biscuits, designer effortsof primarily tocoffee, advertising, increasingly marketing and brand uncomfortable brand development with this vieware are supporting, of supporting, design. andthe Designers implicitly who way endorsing, devote Many their us haveto grown Tibor Gert Dumbar efforts primarily advertising, marketing and and implicitly endorsing, it is Kalman a changing mental environment very so saturated citizenwith commercialdevelopment messages that Many of us have diamonds, detergents, hairtogrown gel, uncomfortable with this view of supporting, design. 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Unprecedented environmental, social and social cultural marketing crises campaigns, demand our books, attention. Many cultural interventions, consumers speak, think, feel, respond and interact. extent weinterventions, areskills. all helpingsocial draft amarketing reductive and cultural There crises are demand our attention. Many cultural campaigns, books, pursuits more worthy of To oursome problem-solving cultural crises Unprecedented demand our environmental, attention. Many social cultural and interventions, social marketing campaigns, books, immeasurably harmful of public discourse. our attention. Many cultural interventions, social marketing campaigns, books, culturalcode crises demand There are pursuits more worthy of our problem-solving skills. Unprecedented environmental, social and Designers who devote their view of design. with this campaigns, table cultural crises demand our attention. Many cultural interventions, social marketing books, ly uncomfor increasing grown of us have Many 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.

SEAN// PEREZ

To seek good design is to seek perfection. To seek perfection is a fools ambition. Design is what you make it, simple, clean, complex or dirty. Every school of thought has context in the industry. I design with an eye of awareness towards that context and an ambition to grasp it at any cost. Tenacity and the perpetual need to succeed is what drives me to design. What drives you?

Signed: Jonathan Barnbrook, nick Bell, Andrew Blauvelt, Hans Bockting i, erma Boom, Sheila Levrant de Bretteville, Max Bruinsma, Siân Cook, Linda van deursen, Chris dixon, William drenttel, gert dumbar, Simon esterson, Vince Frost, Ken garland, Milton glaser, Jessica Helfand, Steven Heller, Andrew Howard, Tibor Kalman, Jeffery Keedy, Zuzana Licko, ellen Lupton, Katherine McCoy, Armand Mevis, J. Abbott Miller, Rick Poynor, Lucienne Roberts, erik Spiekermann, Jan van Toorn, Teal Triggs, Rudy VanderLans, Bob Wilkinson (2000)

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f e i l e b s i h t e t o m o r p s r o t n e m d n a t r a , s r e n g i s e d c i h p a r g e r a , d e n g i s r e d n u e h t ,eW sirable use of our talents . m any design teachers sneakers , toners , , W a ys phaid the , many graphic designers n iv ementors r sno o itW abutt cbills ilbsu pobut d nithis a slight k oo o b;beer flo eand d it danareW ; ti ,sards e a h r t a c n u m m c a u s i v r o tcerid nd promote belief the market ecreational vehicles . c ommercial Work oW let it become , in large measure , What graphic n e h t s r e n g i s e d , n o i t c e r i d s i h t n i d e g a r u o c n e s u q i n h c e t e h t h c i h W n i d l r o W a n i d e s i a r a tide of books and publications reinforces it.neeb n g isc esdib i,h pbut aithis rrlg eer a , do ein g itsir ree dm na udfthen eh tslu , ea W aid the bills many graphic designers , s t i u g o d l e s o t n t a n g a i n a l i k s n e e b y l t n e t s s e p v a h g i s i v d o t r a p p a na ncouraged in direction , designers appl y their W s,a reimagination o ta a c in utm m o c lr a u ivu de n ,sW r o ec rtiddetned itdhd become in large measure graphic , le g r,ig h , s n e g rn er tc e d , sWhat d n o m a ids , es eu f,tfc o n a v t c e f f e , e v i t a u l t o m e h t a o s erp c i h p e r a , d e g i s e d n h t , e ill and to sell dog biscuits designer c e t e h t h c i h W n d l r o W a n i d e s i a r n e e b t h g i l , s r e n o t t t u b , s r e k a e n s , s d r a c t i d e r c s r e h c a e t n g i s e d y n a m . s t e l a t r u o f o e s u e l b a r i s ed sc r o t a i n u m m o c l a u s i v d n a , s r o t c e r i d offee , diamonds , detergents , hair gel , cigarettes , e tm scards ic s r ee pc etv a h g n iW si,ttlrae ved a fe o utr to atm ru a pe pyb a d nta r e m o . s e l c i h e v n o i t a r c e r y d v a e h s d r a W r e k r a m e h ; 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,eesteah r etn g ies e dg id htpo a gh e,u r a , d en n g iser,g e,d d n u eid h te ,ee,W W sth r o t;a c ie n u m lca in vser d a s r o tu c em r ,dssn ra g ic , lm ee g io a s tp g r ts eied d s d n o ao itditc ereid ffoc f ln b sc ih erc tr o m o rs o te n m n a n s r e i , n i t e r i d i h t n a r o c n h o h W s r o t a c i u m m o c l a u v d n a , s r ea tm t h c i h W n i d l r o W a n i e s i a r n e e b , r e e t h g i l , s r e n o t t t u b , s r e k a e n s d r a t i d erc o i t a c i l b u p d n a s k o o b f o e d i t ; t i , s trh in u cesitsilebea g o d lo lie er o tn n o ir tda n ia g a m iip d n a lilaik stun i n c e h t h c h W i d l o W a n i d e s r e e b e tik s i s e p v a h g n s i t r e v d a f o s u t a r a p a d n r o W i c r e m m c . s e l c i h e v l a n o t a e r c r y d y v a eh teq s r e g d , n o i t c i d s i h t n i e g r u o c n e c ,lhg lt,g e g r ia ,etstvsrttao nh eg riete tm e dig ,vsm du n o a id ,aeeiatsreied f o caW y n e is sr r eh plpo g n tsr ea a fm o s u td afrp pry a dln asa eb frif e eo v itets a u m h tis a s o tsad d e tic n p s e n i s d c i h a g y n a t u b , s l l i b e h t p s a h c b d l l e s o n o n a i d n l l k s e b t l , r n t t u b , s r e k e n s , r a e c a , e v i t c e f f e , e v i t a r c l t s o m h t s a s u o d e t n e s e r p n g i s e d y n a m . s t n e l a t r u o f o e s u e l b a r i s e d c i h p a r g t a h W , e r u s a e m e g r a l n i , e m o c e b t t e l W o n e v a h g r i a h , s t n g r e t e d , s d n m a i d , e e f f o c ilk c r es m m o c . sild e ln c,a ic h eh v ls a nm o ir ts a erra c rn y tis u d y v a e ha h a e t n g i s e d y m . t e l a t u o f o e s u e l b r i s e d ta e r a m e h t ; f e e b s i t e t o o r p s r o t n e m d n a i , r e o t t u b r e k a e n s , d c t i d e c t r , s r e n g i s e i h p a r g e a , d e g r d n u e h t , e W d c ic pa r g yic niela m tta u bo lm b e h te dtfiu a po s y lo a s h rn a W eh rs t.o e k a m h ;iftcn e li,e bl,e s ic ho o r p s r n eim n aerid iv eo r n o ilr tsc a b u po d seir k o o bety o ev da tW a ; ta m s ee h v ltta n ts a eto rta d y aiu efo h e a h h W se r ia n u m c lm a u s ib v d ntn a ,siarado t;c ta a h W , e r u a e m e g r a l i m c b t i t e l W o n e v a h s e c r o f n i r s n o i a c i b u p d n s k o o o e d i t tn i eeb n e h t s r e n g i s e d , n o c e r i d s i h n i d e g a r c e r g y n a m t u b , s l l i b e h t d i a p s y a W l a s a h s u q i n h c e t e h t h c i h W n i d l r o W a n i e s r g i s e d i h p a r g e r a , d e g i s r e d n u e h t , e W h t y l p p a n e h t s e n g i s e d , n o i t c e r i d s i h t n i d e g a r u o c n e ,hnesd t i u c s i b g o d l l e s o t n o i t a n i g a m i d n a l l i k s r,e sbg aser e g a lrte ,gieto m ea bu tvin W o n eifg v a n ym lo n ecrs ii,sbs pim v a he g n id tln ro eo d a o s td rid a pla na W ta isn u m c ls sin is dv n , s r o ea r g ic s d , stitg ia u g o d lrc e o to iih ta n a m n adpe ln ikesd lee r h n e rn ero tlc d , m ids , eh eu ftifuc o c n a , e v t c e f f e , e v a u l t s m e t a s o t t s erp d i h p a e r a , d e g i s r e d u e h t , e W c e t e h t h c i h W n d l o W a n d e s i a r n e e b tn tse r a g i c , l e g r i a h , s t n e g r e t e d , s d n o m a i d , e e f f o c te h g i l , s r e n o t t t u b , s r e k a e n s , s d r a c t i d e r c r e h c a e t n i s e d y n a m . s t e l a t r u o f o e s u e l b a r i s ed sc r o t a i n u m m o c l a u s i v d n a , s r o t c e r i d tm sra ic s r ee pc etv a h g n iW so ittlr e v d a fe o u to a ru a p,e py a d n an a , e e b t h g i l , s r e n t t t u b , s r e k a e n s s d r a c t i d e r c r e m o . s e l c i h v a n o i t a r c e r y t d v a e h s d r W r e k r a m e h ; f e i l e b s i h t e t m o r p s r o t e m d n a h t h i h W n i d l r o a n i d e s i a r n e b itec c efpes fa e , eo ig tm an reic u lsten ts o hv tsh sa u tro tns su ed rp-eyd o liv a id c rvey m o c . sn e,tm lc io e lta o ts a ek cd ee ye to via eh ih r g yf n a m u b s llc la ih b er tso dn ifa ppip ys a W lr a a h .hr,W tp e c r i r o i a i l b u p d n a s o b f t a ; ti r a h s i t r v d a f u a r a d n a tn n g s e n a m . s t e t u o e u l a r i s e d g i s e d c i h p a r g y n a m t u b , s l l i b e h t d i a p s y W l a s a h W , e r u s a e m e g r a l n i , e m o c e b t i t e l W o n e v a h e i e h t y l p p n e h t s r e n g i s e d , n o i c e r i d s i h t n i d e g r u o c n e v i t a c u l t s o m e h t s a s u o t d e t n e s e r p tern k r a m eh tsettiru ;u fc e is la e b siu hg tdreaftlo m r po slc ro o ta n e m d ni a a g tia a h W , sb e m e lo n ieo , eu m e bir tesin td e la W o n e va ahlliks g s e d , s i b g o e s o t n t i g m d n epr d y n m . n e l a t r o s e b a i e f n i e r s n o i t a c i l u p d n a s k o b f d i t a ; t i , s r e n g i s e d c i h p a r g e r a , d e n g i s r e d n u e h t , e W , s e t t r a g i c , l e g r i a h , s t n e g r e t e d , s d n o m a i d , e eid ffoc m hh tW ; freeln esg b ih tc,in eto om o sr o tn n meg da n a e a ne sc isg e d im tn c eo rr ibp d io h tu ier r;a u o,csn h o r o t a u m o c l a s v d n r o t c e r d a , r e e t h i l , s r e o t t t u b , s e k a e n s d r a t i d ermichael c s n o i t a i l b u p d n a s k o f e d i t t i by: krauss , s th in u cesitsilbeade g o dhim lo lie er o tn n o ir tda n ia g a m iitc d n a lilaik stun i n c h t c h W i d l o W a n i d e s r e e b k r o W i c r e m c . s e l c i h e v l a n o a e r c r y d y v a e h teq s r e g , n o t c i d s i h t n i e g r u o n e ib cribeyn ,lhg ltg e g r a ,estvrttag nh eg rite tm e dig ,vsm a id ,aeiatreid f o caW n tesd is slir r p po g n is tr ea a o sa afp pry a dln sb ie s is h a y n a ta u bed ssd lo lsn ifm b esr h d p s ara sah c o d lc eeh o n o n i,n ad lu ltu ic kto s e t l , n t t u b , s r e k n , s e cno a , e v i t c e f f e , e v i t a r c l t s o m h t a d e t e s e p c i h p a r g t a h W , e r u s a e m e g r a l n i , e m o c e b t i t e l W n e v g r i a h , s t n g r e t e d , s d n o m a i d , e e f f o c a ilcr es m m o c . se ln c,a ih eevka.ls atn nso ia ts a erra cc r tfiy teurd y vaee harised ah h a e t n g i s e d y m e l t u o o e s u l b i , r e o t t t u b s r e , d d c cic r g yih nea m tu lir bic e tetyo dtiu ad po s y lo atn sa h dna rd aW ehrp,a t.e a m hg ;fbio e in li,e bl,e s ho m rv pa s em m o sk eelr c ve ltta n tsa eth ra y aW efr h ta h W e r u s a e m e r a l i e m c e b t i t e l W o n e v a h a ;ti sae c r o f n i r s n o i a c b u p d n s k o o b o e d i t r g y n a m t u b , s l l i b e h t d i a p s y a W l a s a h h tryulp paaem neeh trsarlenig,e ism ed ,enseo erid o siht en degaruocne ,eg gc o bo titic via isesd , stiu sib god llc tt lnW oitan nig ah mi dna lliks tteragic ,leg riah ,stnegreted ,sdnomaid ,eeffoc a ,reeb thgil ,srenot ttub ,srekaens ,sdrac tiderc oW laicremmoc .selcihev lanoitaercer ytud-yvaeh

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