Consumed by Consumerism

Most graphic designers associate Photoshop wizardry with making visual magic to engage consumers. One of my favorite digital artists, Erik Almas, is a master at this. His campaigns for Absolut and other products are amazing and award-winning, and his work epitomizes the power of digital imaging tools to make people and places flawless, and products larger than life.It’s a much rarer occasion when we see these tools being used for anti-consumerism, which is exactly the point with the image “Decorum,” by visual artist Margeaux Walter. A visually stunning image, at first glance “Decorum” wows the viewer with the sheer abundance of luxurious leopard fur. Yet upon further inspection, we realize the irony of the photo as the leopard gazes back out on a of scene conspicuous consumption and total suffocation.Walter says about her work, “I'm interested in how ads, technology, and consumerism are changing our lives. We are becoming products of our products, being suffocated by our materials.”Resources:http://www.chronogram.com/hudsonvalley/on-the-cover/Content?oid=2322822http://www.erikalmas.com/#campaigns

Branding Whackyweed

While doing research for this blog post, I discovered there are at least 564 nicknames used for marijuana, about 500 more than exist for cigarettes and alcohol. This may be a sign of times to come for brand marketers as they scramble to figure how to brand the newly legal drug.In fact, designers and bloggers are already hard at work branding marijuana. Last month Creative Bloq published an article about the challenges designers face in rebranding marijuana from illegal to legal. They offer advice about the importance of ditching the street names and using scientific language instead.Designers are also challenged when differentiating between service and product types. Similar to alcohol and cigarettes, marijuana comes in many different strengths and flavors—but it also has a wider variety of uses including skincare products and supplements for pets.Brand experts may differ in their process and their outcomes, but they generally agree that branding is a form of story telling. But what is the story they want to tell? Some proponents of marijuana feel it is a recreational drug, similar to alcohol. If this is the story then we can expect to see these products competing with top Super Bowl advertisers like Budweiser, romanticizing the effects of marijuana, presenting it as the ultimate party drug—sure to win you friends, fun, and make all your problems go away. Others feel that marijuana's story should be about it’s medicinal effects and how it can be used for an overall sense of wellness, healing, and proper nutrition—a panacea of sorts. All of these stories collectively indicate big business is on the way. Companies like Aquarius Cannabis are dedicated to branding marijuana. Their website talks about the “cannabusiness” and the challenges of addressing both market sectors—medicinal and recreational.While such business steamrolls ahead, let us not forget the ethical issues involved. Similar to branding cigarettes and alcohol, graphic designers are likely to find themselves on Milton Glaser’s “Road to Hell” when working in this industry sector. Many would argue that much like cigarettes and alcohol, branding marijuana hits #11 on Glaser’s list, “Design an ad for a product whose continued use might cause the user's death?” Although a bit more complex due to proven medicinal effects and other uses, there’s plenty of evidence that the misuse of marijuana that would certainly put it in the same category.Then there’s the impact of growing marijuana on the environment. It’s estimated that 60-70% of marijuana consumed in the U.S. comes from California. Marijuana is a thirsty plant—using twice as much water as wine grapes. Cultivation of this plant, especially during the current drought conditions, needs to be done responsibly. Ecologist Mary Power recently co-authored a paper for the journal of Bioscience that details the destruction of the sensitive watersheds where cultivation is done and stresses how important it is that the environment be included in the debate on marijuana legalization. Power feels that quasi-legalization increases the difficulty to address the harmful environmental effects and full legalization may make things better from an environmental standpoint.Regardless of your opinion on marijuana, there is no disputing the fact that as the debate continues about its legalization, branding efforts will continue to grow right alongside it—and graphic designers will be navigating these murky ethical waters right alongside as well.Sources:http://www.pot-heads.com/what-are-the-nicknames-for-marijuana.aspxhttp://onlineslangdictionary.com/http://www.fastcodesign.com/3024457/6-branding-lessons-from-the-pioneers-of-weed-designhttp://www.creativebloq.com/advertising/how-designers-are-rebranding-marijuana-61515127?utm_source=Design+Indaba+mailing+list&utm_campaign=6e059e5cdf-Weekly_17_jun_20156_18_2015&utm_medium=email&utm_term=0_eb8e2b1d91-6e059e5cdf-429312541http://www.adweek.com/news/advertising-branding/10-best-ads-super-bowl-xlviii-155441http://www.miltonglaser.com/milton/c:essays/#2http://e360.yale.edu/feature/the_high_environmental_cost_of_illicit_marijuana_cultivation/2895/http://www.livescience.com/42738-marijuana-vs-alcohol-health-effects.html

Eliminating fear and loathing of fair use

Fair use exists to allow scholars, educators, researchers, and more to use copyrighted works without permission or paying royalties.Furthermore, fair use is one of my favorite topics to discuss regarding ethics in graphic design, because its status as a grey area leads to some of the most interesting conversations in the field. Unfortunately this same status has also caused anger and conflict in the design world, legal and otherwise.People crave rules—they want to know definitively if they can or can’t use something. I once gave a presentation on ethics in graphic design which included questions from the audience about whether or not specific artwork could be used. When it was done, I overheard a member of the audience grumbling loudly as they left because I wasn’t able to provide them with a simple yes or no about the use of an image. In this case, and others, the answer is almost always, “it depends...” (Of course, I am not a lawyer and can’t offer legal advice.) Then there is the can of worms that is opened when discussing cases like the Richard Prince/Patrick Cariou copyright case—this never fails to start a firestorm of controversy.The fair use doctrine has developed through a substantial number of court decisions over the years. When evaluating whether or not the use is fair, there are four factors that are considered:

1. What is the character of the use?
2. What is the nature of the use?
3. How much of the work will you use?
4. What effect will it have on the market for the original?

As you can imagine, the answers to the questions are almost never black and white. The size of the image reproduced, the amount used, the distribution, and how much it was changed, are just some of the questions that are asked. In fact, lawmakers have said that it’s intentionally a grey area in order to keep an open dialogue while evaluating if an image’s use was fair or not.A copyright owner has the legal right to restrict reproduction of a copyrighted work and to demand royalties when a copyrighted work is used. Penalties for unauthorized copyright can be substantial. With this in mind, it makes sense to have an idea about whether or not your use of copyrighted work is defensible. Subsequently, some find the whole business so unpleasant that they avoid it all together.The president of CAA (College Art Association) and others are concerned that fear of copyright infringement may be stopping people from creating innovative work that adds to our culture. A recent study showed that 1 in 5 Artists, 3 in 10 Museum staff, and 4 in 10 academics state that they avoid issues of fair use when making, researching, and exhibiting art.In “Fair Use at Work in the Visual Arts,” a video that they’ve produced to educate and inform artists, educators, and researchers about the topic, they state that when courts look at fair use cases they look primarily at two things: is the work transformative and is the amount of work is proportionate? If the answer to these two questions is affirmative, the track record shows that the work will most likely be considered fair use and non-infringing.CAA has created a code of best practices to help navigate these murky waters and to encourage scholars and artists to work freely and uninhibited.How about you? Are you feeling more confident about fair use and copyright, or more fearful?Sources:http://www.expertlaw.com/library/intellectual_property/fair_use.htmlhttp://cmsimpact.org/fair-use/best-practices/fair-use-visual-arts#CodeStarthttp://copyright.gov/fair-use/more-info.htmlhttps://www.youtube.com/watch?v=wC-wfVfIXiw

Designers Voting Yes for Love

On May 22 Ireland may be the first country to vote to legalize same-sex marriage.“Yes for Love” is a campaign which asks people to help support this cause by downloading a design and using it as their social media profile.Help support this cause, get your profile pic here and encourage people to vote yes for freedom, for commitment, for justice, and for equality: http://yes-for-love.com/Sources:http://eyeondesign.aiga.org/designers-are-voting-yes-for-love-to-help-ireland-legalize-same-sex-marriage/http://yes-for-love.com/http://www.telegraph.co.uk/news/worldnews/europe/ireland/11614313/Ireland-gay-marriage-referendum-what-you-need-to-know.html

Students & Scientists Working Together

Graphic design is used for everything from advertising to information graphics to entertainment. Many feel that graphic design is at its best when it’s used for advocacy. Some go further and ask if graphic designers actually have a responsibility to use their skills to advocate for social causes. If doctors have a responsibility to take care of those that in critical condition, then one can reason that graphic designers have a responsibility to create communication which motivates people to take action on critical issues, like the condition of our planet.The 6th Extinction In-Motion Video Campaigns were created by Carnegie Mellon Communication Design students. The collaboration between the students, scientists, and conservationists was based on the idea that graphic designers can create a bridge between dry scientific data and the population that needs to hear it.In honor of this year’s Earth Day, take a few minutes to see how these students put their skills to work, and think about what you can do with yours.

Women! Learn to ask for more

The gender gap in compensation and the lack of women in leadership are issues that all women face. AIGA’s Women’s Leadership Initiative celebrates and fosters women’s achievements in design. As part of their commitment to empowering women designers they have sponsored a series of webcasts on the topic of negotiation.Graphic designers are visual communicators and problem-solvers. Negotiation is a communication discipline—it’s not a battle—just a conversation. Negotiation has roots in improvisation and all improvisation adds information. It’s about bringing information to the conversation in order to problem-solve your way to agreement. Yet despite this fundamental relationship between problem-solving and negotiation, women in design often struggle with negotiation. Many have the opposite experience—they cringe at the prospect. Fears of being thought of as being too bossy, too emotional, or not being taken seriously, hold many women back. As shown above, women are four times less likely to negotiate then men. 20% of women refuse to negotiate at all and women ask for 3-32% less when they do negotiate.In the first webcast, AIGA Women’s Leadership Initiative, that aired last November, Lisa Gates, co-founder of She Negotiates, talks about how women need to understand their natural way of operating, and change the conversation to match their style, not feel the need to match someone else’s style. Women need to add communication and negotiation skills to their toolbox, use them in their own way, and practice every day. Gates talks about assessing your market value and takes us through the steps to find out how. The webcast has been archived and is available for viewing through AIGA’s site.The second webcast which aired in January, Blueprint for Everyday Workplace Negotiation, is also available for viewing.The third, Set and Get Your True Market Value, takes place on March 19, 2015. As you celebrate this month’s Women’s History Month, tune in to learn more—it will be well worth your time.Sources:http://www.aiga.org/webcast-advancing-leadership-negotiation/http://www.aiga.org/womens-leadership/http://www.shenegotiates.com/

Racism, then, and now

Almost twenty years ago, Benetton Clothing’s “Hearts” Print Ad won the Cannes Lions 1996 Press Gold award when it featured these 3 hearts in an effort to open people’s eyes and speak to the “heart” of the matter.Steven Heller’s recent post for the Daily Heller, Institutional Racism, featured ads from the past century, including a beautifully rendered wood-cut illustration of a slave worker in front of a steamship for “Old Plantation” coffee. Heller talked about how commonplace these stereotypical images were in consumer advertising and packaging and how they undoubtedly influenced the perceptions of many white adults and children.Heller’s post shows ads from the first half of the twentieth century, all prior to the 1970s. An article published just a few years ago on Business Insider, “The 10 Most Racist Ads of the Modern Era,” lists the most offensive ads in contemporary times. Among the winners are Ashton Kutcher’s “Brownface” debacle for PopChips, Sony’s “White is Coming” PSP billboard, and Mary J. Blige’s offensive Burger King commercial for fried chicken.Last week’s Daily Heller post, “Jews Need Not Apply,” is about an ad placed this past week by a Paris-based SNL studio looking for a graphic designer which said, “if possible not be a Jew.”Unfortunately, sometimes the more things change, the more they stay the same.Sources:http://www.printmag.com/daily-heller/institutional-racism/http://www.businessinsider.com/the-10-most-racist-ads-of-the-modern-era-2012-6?op=1http://www.buzzfeed.com/copyranter/the-14-strongest-anti-racism-ads-of-the-last-20-years#.xeoGoDWdKhttp://www.printmag.com/daily-heller/jews-need-not-apply/http://www.coloribus.com/adsarchive/prints/benetton-clothing-hearts-429905/

Je suis Charlie

“Je suis Charlie” (I am Charlie) has become the mantra for many across the world who are gathering to protest the slaughter of Charlie Hebdo’s editor and cartoonists.Provocation, satire, and commentary are some of the sharpest tools that graphic designers possess. Our ability to pair words and images to create a dialogue—however controversial it may be—is at the core of what we do. Cartoonists across the world are standing up to terrorism by drawing their outrage at this attack on freedom of speech.Others, like Bill Donohue, president of the US Catholic League, have angered many when he issued a statement saying that the Muslims have a right to be angry. Donohue also said the killing should be condemned, but that we should not tolerate the actions that provoked the attack.How about you? Are you willing to say, “Je suis Charlie?”See more, #jesuischarlie, #charliehebdo.Sources:http://www.washingtonpost.com/news/comic-riffs/wp/2015/01/07/cartoonists-react-to-charlie-hebdo-massacre-in-paris/?hpid=z2http://www.buzzfeed.com/ryanhatesthis/heartbreaking-cartoons-from-artists-in-response-to-the-ch#.qmyrvywBDhttps://twitter.com/jean_jullien/status/552829637215408128/photo/1http://www.washingtonpost.com/blogs/worldviews/wp/2015/01/07/after-charlie-hebdo-attack-u-s-catholic-group-says-cartoonists-provoked-slaughter/

Protesting through Design

Weeks before the Ferguson grand jury handed down their verdict, students in my graphic design class chose police brutality as their topic for a social awareness project. It was interesting and disturbing to see some of the facts that unfolded as they presented their research and drafts. When the grand jury decided not to indict in the Eric Garner case a few weeks later, we watched as their chosen topic became even hotter. We watched as people reacted with incredulity and horror. We watched as our small exhibit of the class’ posters stirred up controversy—creating heated conversations among those who loved the work and those who felt it was too one-sided.People are getting swept up in emotional outrage and are taking to the streets, marching on Washington, blocking traffic, and staging protests and die-ins against what they feel has been a serious injustice. Many echo the thoughts of Russell Simmons, who stated during a recent CNN interview that in over 150,000 cases that came before a grand jury, only 11 chose not to indict. The lack of indictments in these two most recent cases seems unbelievably one-sided.At times like this it’s important to look at the facts and the big picture. When doing so, we may become even more outraged.You can view more art from artists around the world protesting against the Ferguson verdict:http://www.huffingtonpost.com/2014/12/05/ferguson-art_n_6257340.htmlSources:http://www.occupy.com/article/millions-march-december-13-anger-over-police-violence-sweeps-nationhttp://www.cnn.com/2014/12/11/us/police-slayings-reaction-roundup/

The Perfect Response

Three students from Leeds University in Great Britain recently had the perfect response to Victoria's Secret ‘Perfect Body’ Campaign when the company introduced a new bra collection called “Body by Victoria” with an ad campaign featuring ultra thin models with the words “The Perfect Body” running across the image.The students were outraged by the campaign, claiming the ads perpetuate low self-esteem and negative body image in women. They asserted, as does the National Eating Disorders Association (NEDA), that this contributes to a culture ridden with unhealthy eating habits and disorders. They created an online petition on Change.org and requested that Victoria’s Secret apologize and amend their irresponsible advertising. They racked up nearly 30,000 supporters. Images that celebrate the amazing diversity among women were posted online by supporters like Dear Kate and to the Twitter hashtag #iamperfect in response to the campaign.The three young women, Frances Black, Gabriella Kountourides, and Laura Ferris, talked about the influence that the hugely popular company has on young women and called upon them to take their responsibility seriously. In addition to raising awareness and gaining support, the students’ efforts paid off. Victoria’s Secret quietly replaced the ad with another. The wording was amended to say, “A Body For Every Body.” Although as many will note, even though the words have changed, the perfect body images remain the same. The students’ response may have been perfect, however Victoria’s Secret still falls a bit short.Sources:http://www.jrn.com/kmtv/now-trending/Victorias-Secret-quietly-changes-Perfect-Body-slogan-after-criticism-281993701.html?lc=Smarthttps://www.change.org/p/victoriassecret-apologise-for-your-damaging-perfect-body-campaign-iamperfecthttp://nypost.com/2014/10/31/victorias-secret-perfect-body-campaign-sparks-backlash/http://www.telegraph.co.uk/women/womens-life/11213078/Victorias-Secret-lingerie-advert-changed-from-perfect-body-after-internet-storm.html

Transforming from Standalone to Grand Scale

The conversation among educators and practitioners about the role of graphic design often centers around how to move graphic designers from creating standalone solutions to solving problems on a grander scale.Many graphic designers are not satisfied with serving the needs of business and commerce, but want to be involved in doing good. Whether projects involve human rights, global warming, or other issues involving social awareness and sustainability, there is a common thread of wanting to create change for the better.But how do graphic designers get there? Traditionally trained to create solutions to specific problems—standalone interventions—how can they make the leap to designing for large scale cultural change?Social Design Pathways is designed to help. The site features a free, downloadable matrix that can be used as a guide, map, index, and evaluation tool. The matrix is a practical guide that can help individuals and organizations clarify their project. It aids in the complex task of looking at the big picture, as well as drilling down and looking at the specific tangibles required. The website and the downloadable matrix also feature examples of how to use the matrix along with best practices.A work in progress, all the creators ask is that you attribute it and share your experience—expanding the knowledge base and helping further development.Learn more and get your copy here: http://www.socialdesignpathways.com/

ISIS—a brand in the making

We see brands in the making every day; either new brands for start-ups, or redesigns for long established companies. However, seeing the branding of a dangerous and powerful terrorist group right before our eyes is something all graphic designers should take note of.These days ISIS has been changing its brand; “ISIL,” “IS,” and “Islamic State” are all variations that are being used. The symbol above, the black banner comprised of a white calligraphic shahada, represents one of the five Pillars of Islam, positioned over the historical seal of Muhammad. (1) And just like all brands—t-shirts, head scarves, dolls, and other brand collateral are available for purchase to help spread their brand message.Like the Nazi swastika symbol whose meaning in ancient sanskrit is “Well-being, Good Existence, or Good Luck,” ISIS has roots in ancient history too. The original Isis is the Egyptian goddess of health, marriage, and love—one of the first and most important goddesses. While few of us that hear the term ISIS today associate it with the Egyptian goddess, it’s interesting to note the underlying reference and wonder whether or not it was a calculated coincidence. Like the Nazis who adopted the swastika as their symbol for the expansion of their race, ISIS could be evoking the Egyptian goddess as they press forward with the inclusion of the symbol for shahada, which means “there is only one god.”As far as the current evolution of its brand name, experts would caution against changing a brand in the midst of its growth to avoid brand confusion. Muslim leaders in the U.S. and around the world are upset by the evolution of the brand to “Islamic State.” It marginalizes the vast majority of Muslims who are disgusted by the group’s un-Islamic actions. (2) However, it’s  no doubt a calculated move and a huge victory for the movement as they seek to recruit young muslims. Using “Islamic State” is a strategic move toward giving the movement religious legitimacy.Compared to the brutal slayings and violence that ISIS is leaving in its wake, the branding efforts may appear to be the least of our problems. However, all we need to do is look at history to see how powerful the branding of evil can be.Notes:1. http://www.printmag.com/daily-heller/branding-isis-isil-is/2. http://www.thesunchronicle.com/vip/opinion/columns/op-ed-why-branding-isis-matters/article_94a652a0-429f-5a1d-9ba9-df375a9f3843.htmlSources:http://www.ancient-origins.net/myths-legends/symbol-swastika-and-its-12000-year-old-history-001312http://www.fdlreporter.com/story/opinion/2014/09/20/branding-isis-matter/15967959/http://www.egyptartsite.com/isis.htmlhttp://nypost.com/2014/06/24/merchants-peddle-isis-branded-clothing-in-indonesia/http://www.atelierworks.co.uk/blog/the-dividends-of-death.php

Visualizing Global Dying

Milton Glaser’s new logo is meant to change how people perceive climate change. As Glaser observes, the phrase “global warming” sounds comforting and non-threatening. He wants us to consider the more ominous words, “global dying,” which many feel is much more accurate about the state of our planet.Glaser says, “Those of us responsible for communicating ideas to others must bear the burden of the consequences of such communication. If one is looking for a purpose and theme to their life, avoiding the worst event in human history is a good place to begin.”

Hauntingly beautiful, as most of Glaser’s work is, the logo’s transformation from green to black evokes images of pollution, smoke, death, and the disappearance of light. The sphere also suggests an aerial view of the Earth, with only a small section of health and life remaining.

Designed as a simple visual for posters and buttons, the logo is available for purchase as a badge and is being sold in sets of five for $5. Proceeds will be put towards the production and distribution of more badges. The hope is that the campaign will go viral. Glaser says, “If half the people on earth wear the button even the ‘masters of the universe’ (large corporations) will be moved to action.”

Get your badges and help spread the message.Sources:http://itsnotwarming.com/http://www.dezeen.com/2014/08/04/milton-glaser-its-not-warming-its-dying-climate-change-campaign/http://www.wnyc.org/story/milton-glaser-takes-global-dying/

A “not so subtle” controversy

If you got a chance to see the recent Kara Walker exhibit in an abandoned Domino Sugar Factory in Brooklyn, you may have found yourself on one side or the other of a heated debate about art and racism.Walker’s installation, A Subtlety, or the Marvelous Sugar Baby, a 75.5 feet long, 35.5 feet tall and 26 feet wide sculpture of a mammy/sphinx made out of white sugar and molasses was anything but subtle. Walker says the work was “an homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World.” (1)Purposefully sweet and charming, the exhibit was designed to draw you in and then make you think about the horror of the Carribbean slave trade that fueled the Western market for sugar. Walker says it was blood sugar and the process was very dangerous with many slaves losing arms, legs, and their lives.After the exhibit opened in May critics claimed is was a racist piece of art. Some black visitors were appalled to observe some white visitors laughing and joking as they posed in front of the sculpture. SUNY Westbury Professor Nicholas Powers wrote an essay entitled, “Why I Yelled at the Kara Walker Exhibit,” where he speaks about his outburst at the exhibit and anger at Walker. Powers questions her responsibility as an artist.Powers visited the exhibit three times and by the third visit he was happy to see a team present handing out stickers reading “We Are Here.” Their presence was to remind white visitors about the seriousness of the exhibit and that descendants of slaves were in the room they should curb their disrespectful acts. Charing Bell offers an opposing point of view in her article entitled, “Why the Behavior of White People Shouldn’t be Policed at the Kara Walker ‘Sugar Baby’ Exhibit.” Bell asserts that art—no matter how painful—should not be directed.In an interview with Complex Art & Design, Walker talks in depth about the research that she did and the many complexities involved in the work. Intertwined in this “not so subtle” exhibit, are many subtleties that deal with themes of race, power, and sexuality.For me, Walker’s work calls to mind graphic designer James Victore’s quote, “Graphic design is a big *&#! club with spikes in it and I want to wield it.” Substitute “art” for “graphic design” and A Subtlety packs the same kind of punch, only it’s sugar-coated.What do you think, was the exhibit subtle, racist, or brilliant?Notes:(1) http://creativetime.org/projects/karawalker/Sources:http://creativetime.org/projects/karawalker/http://www.npr.org/2014/05/16/313017716/artist-kara-walker-draws-us-into-bitter-history-with-something-sweethttp://www.indypendent.org/2014/06/30/why-i-yelled-kara-walker-exhibithttp://charlesrubinoff.com/2008/06/favorite-quote-about-graphic-design/http://madamenoire.com/444739/white-people-policed-kara-walker-exhibit/http://www.complex.com/art-design/2014/05/kara-walker-interviewhttp://colorlines.com/archives/2014/06/kara_walkers_sugar_sphinx_evokes_call_from_black_women_we_are_here.html

Design and Violence

Paola Antonelli, senior curator of Architecture and Design at MoMA, begins her talk at the DLD Conference about Design and Violence by discussing how contrary to what many designers want to hear, design can be used not only for good, but for evil. Antonelli discusses the shock she felt when she saw the first 3D gun. She goes on to talk about how design can help us understand violence.Designs like Mine Kafon show the stark contrasts and incongruencies that exist. At first glance, Mine Kafon exhibits beautiful objects with a meditative and radial balance assemblage. Then we learn that it is a film about the prevalence and horrors of land mines along with a solution to help clear them.Another recent post, “Hacked Protest Objects (Anon),” features everyday objects that have been “hacked” to take on a different role—one involved in protest and violence. Innocuous objects like toilet bowl brushes and common household cleaning supplies are raised in arms.Projects are grouped into categories such as Hack/Infect, Constrain, Stun, Penetrate, Manipulate/Control, Intimidate, and Explode. Experts from all fields are invited to respond to the design objects and engage with readers. The experimental web project asks questions like, “Is execution always ugly?” Or, “Is euthanasia an act of violence or an act of compassion?”The goal of the project is to create a conversation about the relationship between design and violence, and in that process gain an understanding of the complex relationship that design has in the role of violence in contemporary culture.Go ahead and take a look at the much less discussed side of design—see if you have the stomach for it. It’s a very provocative and relevant conversation.Sources:http://www.mediabistro.com/unbeige/watch-paola-antonelli-discuss-design-and-violence_b33777http://designandviolence.moma.org/

Monetizing Memorials

The 9/11 Museum opened last week in Manhattan amid a storm of controversy. Designed to remember the horrors of 9/11, many feel the steep $24 admission fee, along with the crass commercialism of the gift shop, has gone too far.With Milton Glaser’s famous “I Love NY” logo in somber tones of black and blue, the Museum Store features a wide range of memorabilia for sale. T-shirts, jewelry, ornaments, magnets, stuffed animals, books, and umbrellas are among the items being sold—at the same sacred site where the remains of 1,115 unidentified victims lie.Among the outraged are family members of the victims. Diane Horning, who never recovered the remains of her son, Matthew, 26, a database administrator for Marsh & McLennan and an aspiring guitarist, told the New York Post she is appalled:“Here is essentially our tomb of the unknown. To sell baubles I find quite shocking and repugnant. I think it's a money-making venture to support inflated salaries, and they're willing to do it over my son's dead body.” (1)New York’s memorial and museum cost more than $700 million to build. Financed by government agencies and private donations, supporters assert that the gift shop exists to provide a a stream of revenue that is needed for operations in addition to the admission fee. The next steps for the museum include plans to open a café by Danny Meyer this summer. While gift shops and cafeterias go hand-in-hand with museums, this news has outraged many. Meyer is CEO of Union Square Hospitality Ground which operates famous Manhattan eateries like Blue Smoke, Gramercy Tavern, and the Shake Shack. Meyer’s states that they are not doing it for commercial reasons, but rather to provide a relaxing and comfortable environment where visitors can experience local and seasonal fare. He also asserts that the café will pay the museum a “significantly above-market” rent and a percentage of proceeds. Opponents still feel opening a café at the site of burnt fire trucks and human ashes is in very bad taste.Other museums like the Pearl Harbor Museum and the Holocost museum have gift shops and charge admission using the money to support itself.“A historic museum is much like a church; you have to have income to survive,” says Kari Watkins, the executive director of the Oklahoma City National Memorial and Museum. “For those stories to be told, for those lights to be turned on, for that water to flow, you have to make income.” Her museum welcomes 200,000 visitors a year and derives 25 percent of its revenue from its gift store. (2)Some ask why these standard practices at the 9/11 Memorial have caused such a reaction. With less than 15 years passed since the horrific attacks, is it just too soon?Notes:(1) http://politix.topix.com/story/12134-the-9-11-museum-charges-24-admission-and-has-a-gift-shop-victims-families-are-outraged(2) http://www.businessweek.com/articles/2014-05-23/the-9-11-gift-shop-sells-tacky-tchotchkes-because-well-buy-themSources:http://www.businessweek.com/articles/2014-05-23/the-9-11-gift-shop-sells-tacky-tchotchkes-because-well-buy-themhttp://nypost.com/2014/05/22/911-museums-planned-comfort-food-cafe-is-inappropriate/http://nypost.com/2014/05/21/in-bad-taste-911-memorial-museum-opening-danny-meyer-restaurant/http://politix.topix.com/story/12134-the-9-11-museum-charges-24-admission-and-has-a-gift-shop-victims-families-are-outragedhttp://www.washingtonpost.com/posttv/what-you-can-buy-at-the-911-museum-gift-shop/2014/05/20/93da3c42-e03e-11e3-9442-54189bf1a809_video.html 

Mad men (and women), how do they fare today?

If you haven't seen the poster design for the final season of Mad Men by Milton Glaser yet, I'm sure you will consider it a treat. The poster not only references Glaser's signature Bob Dylan poster, but also loops back to Glaser’s career with Push Pin Studios, one of the biggest New York design firms to serve the advertising world during the real Mad Men era. Glaser was a founding member of Push Pin Studios along with Seymour Chwast, Edward Sorel, and Reynold Ruffins. Together, they helped shape, define, and set the direction of modern visual style.So besides this season’s poster design, how else does this critically acclaimed show—now in its seventh and final season—mirror the world of advertising on Madison Avenue? Some say some things have changed dramatically, while others adhere to the adage, “the more things change, the more they stay the same.”Though technology has altered everyone’s lives dramatically, advertisers and the graphic designers that work with them have gained access to tons of data that helps them target, test, and monitor campaigns much more accurately. Designers still scramble to produce comps or prototypes that will win accounts, they just use much more technology to do it and face even tighter deadlines.Many argue that woman have it considerably better today and don’t face the sexism that Joan and Peggy have encountered throughout the show's run. However many others feel there is still a long way to go—including President Obama, who just last week called for equal pay for women. In terms of how woman are portrayed in advertising, an article for Business Insider in 2012 showed how many modern ads are even more sexist than their Mad Men counterparts.The three martini lunch is now (thankfully) gone, but the business of selling products and services by gaining an edge against your competitors is still the name of the game. Graphic designers who work in advertising are still charged with creating work that sells. In that role, they still face the same questions that Milton Glaser asks in the article he wrote in 2002, “The Road to Hell.” Glaser asks designers to examine their own personal ethics and establish their own level of discomfort. He starts off with a question that may seem a bit innocuous, asking designers if they have ever designed a package to look bigger on the shelf. The questions then get progressively more difficult, ending with the question, “have you ever designed an ad for a product whose frequent use might cause the user’s death? Glaser admits that he personally has taken a number of them during his long and illustrious career.Those of us who wait in great anticipation for the next Mad Men episode can’t help but notice parallels between the past and the present, and wonder at how “the more things change, the more they stay the same.”Sources:http://www.fastcocreate.com/3027412/image-of-the-day/milton-glasers-psychedelic-poster-for-final-season-of-mad-menhttp://www.wtop.com/41/3601295/Advertising-after-Mad-Men-How-the-show-compares-to-real-lifehttp://abcnews.go.com/Politics/wireStory/obama-reiterates-call-equal-pay-women-23301061http://www.designlessbetter.com/blogless/posts/the-road-to-hellhttp://www.businessinsider.com/these-modern-ads-are-even-more-sexist-than-their-mad-men-era-counterparts-2012-4#this-old-ad-took-the-whole-walking-all-over-women-thing-to-the-next-level-1

Celebrating “The Boss”

This Google doodle for International Women’s Day shows how women around the globe are being celebrated all month long for Women’s History Month. There are also a number of efforts underway to not only celebrate women, but to empower them.In the U.S. the design community is on par statistically with other industry sectors in terms of women in leadership positions. Unfortunately, these numbers are not very high with only 18% of design leadership positions held by women. In her article for Communication Arts, “Designing Women: Mothers of the Earth unite,” DK Holland writes about why women are not well represented in leadership roles in the creative profession. Holland asserts that women are shaped by cultural norms that make them strive for harmony and sublimate their own needs for the greater good. Cheryl Heller, AIGA medalist and founder of the School of Visual Art’s Design for Social Innovation MFA program, says, “Women are good at relationships and seeing the world from perspectives other than their own. These are critical skills, and now we have to figure out how to maintain them while introducing the kind of disruption that leads to a healthier reality.”Equality for women also manifests itself in how women are featured in design history books. The blog Women of Graphic Design is dedicated to exhibiting design work by women in graphic design. It was started by Tori Hinn at the Rhode Island School of Design when it was discovered that despite the fact that 71% of the Graphic Design department were women, only 6% of the designers students were learning about were women. The blog showcases some of the best work in graphic design in the world that has been created by women.See Jane is an organization founded by actress Geena Davis with a mission to change how women are portrayed in the media. Their research shows that in family programming there is only one female character for every three male characters; in group scenes only 17% of characters are female. The Institute is working hard to create gender balance, reduce stereotypes, and create female characters starting with entertainment that targets children 11 and under. Their goal is to become a blueprint for a gender-balanced media landscape. The effort is succinctly summed up with their tagline, “If she can see it, she can be it.”The Representation Project is another effort that uses film and media to expose the injustices created by gender stereotypes. The film Miss Representation pulls back the curtain on how mainstream media contributes to the under-representation of women in positions of power and influence.The Ban Bossy campaign founded by Lean In and The Girls Scouts is aimed at changing the perception of women as being bossy. The campaign aims to change the negative connotation of bossy, to one of empowerment, where women are admired and revered for their leadership skills. Beyonce delivers the message perfectly in the newly released PSA for the campaign, where she proudly declares she’s not bossy, she IS “The Boss.”Girl Rising is a global campaign for girls’ education and also the title of the documentary film produced by the organization. Around the world millions of girls are met with barriers to education that boys do not face. The Girl Rising campaign asserts that educated girls are able to stand up for their rights, and subsequently grow up and educate their children, families, and communities. Educated girls will not only transform their own lives, but societies as well.In addition to changing perceptions of women in leadership roles and how they are portrayed in the media, we need to change how they are valued economically. The AAUW report, “The Simple Truth about the Gender Pay Gap (2014),” states that in the United States women were paid 77 percent of what men were paid. The gap exists in nearly every occupation, grows with age, and is worse for women of color. The gap persists outside of the U.S. and is worse in some countries. The Times of India reported in 2013 that the pay gap for women ranges from 25% to 44%.What have you see this month that celebrates women? Share it with your both your sons and daughters. Celebrate women—and empower them.Sources:http://www.aauw.org/research/the-simple-truth-about-the-gender-pay-gap/http://www.commarts.com/columns/designing-women-part-one.htmlhttp://www.commarts.com/columns/designing-women-part-two.htmlhttp://film.missrepresentation.org/synopsishttp://girlrising.com/http://www.missrepresentation.org/about-us/resources/leadership/http://seejane.org/http://www.theguardian.com/technology/2014/mar/08/international-womens-day-google-doodle-yousafzaihttp://therepresentationproject.org/about/mission/http://timesofindia.indiatimes.com/city/ahmedabad/Single-or-married-women-get-paid-less-than-men-IIM-survey/articleshow/22240925.cmshttp://womenofgraphicdesign.org/abouthttp://womenshistorymonth.gov/

Coca-cola: Ingredients vs. Aspirations

http://youtu.be/443Vy3I0gJsWas anyone else as conflicted about Coke's Superbowl ad as I was? I want to applaud them for representing America as the land of diversity that it truly is. I want to stand behind them and boo the right-wing conservatives who hated it. But I also want to know when their ingredients and practices will measure up to the aspirations of their advertising.After last week's ad aired, some Coke critics directed people to #boycottcoke, not because of its portrayal of America in the commercial, but because Coke has too much sugar and destroys our environment. The website killercoke.org holds Coca-cola accountable for crimes in many countries. Articles like "Overexploitation and over use of water sources in India" abound.What about those ingredients? The commercial shows the smiling and happy faces of a culturally diverse America. Studies show that drinking just one soda per day can raise the risk of developing type 2 diabetes by up to 22 percent. Research also shows that the burden of diabetes is much higher for racial/ethnic minorities than for whites. So while their beautiful commercial brings a tear to my eye, I can't help but be angry at an ad that appears to be targeting minorities to get them hooked on soda.Of course if you work in marketing, you can't help but admire what a genius move it was. It may have inflamed controversy and alienated conservatives, but for advertisers, it's always about expanding market share. Coke did a great job of targeting their heavy users — those who drink several sodas every day. They also directed it squarely at an expanding demographic, the rapidly growing Latino market and other minorities. In fact, as Jill Fillopovic wrote in an article for The Guardian, "Coke's targeting of Latino and other immigrant populations is about as progressive as RJ Reynolds marketing menthol cigarettes to African-Americans or Phillip Morris hawking Virginia Slims to women – that is, not very. Before we applaud Coke's advertising diversity, we should ask: do we really want Coke to diversify?" (1)How do you feel about the commercial, love it or hate it, or are you somewhere in the middle?Notes:(1) http://www.theguardian.com/commentisfree/2014/feb/03/coca-cola-america-is-beautiful-adSources:http://www.ahrq.gov/research/findings/factsheets/diabetes/diabdisp/index.htmlhttp://abcnews.go.com/blogs/health/2013/04/25/one-soda-per-day-raises-diabetes-risk-study-suggests/http://www.theguardian.com/commentisfree/2014/feb/03/coca-cola-america-is-beautiful-ad

A great big club with spikes

In a video interview with Hillman Curtis, graphic designer James Victore likens graphic design to a great big club with spikes on it, best used to hit people over the head with.Graphic Design Advocacy—International Posters for the Digital Age: 2001-2012, is a traveling exhibit that does just that. Curated by Elizabeth Resnick from MassArt, the exhibit features 122 posters spanning the first decade of this century that address some of the most controversial and heart-breaking issues of our time. War, 9-11, the Gulf oil spill, global warming, human trafficking, and the tsunami in Japan are just some of the moments captured. In an interview for Print Magazine with Steven Heller, Resnick talks about the effect the internet has had on poster design, “the Internet has enabled designers to make and post visual commentaries without concern for the costs of labor, printing, and posting their work to air their opinions.”The exhibit has traveled across the globe for the past year, both on site and online, and is still traveling. While many lament the disappearance of print, it’s comforting to know that one of the strongest visual vehicles for protest and dissent—the poster—is still a powerful agent of advocacy. It’s inspiring to see what graphic designers can create as they wield their great big clubs with spikes.Sources:http://graphicadvocacyposters.org/posters/http://www.printmag.com/design-inspiration/graphic-advocacy-takes-a-stand/