Manifesto Book

ADESIGNMANIFESTO

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 applytheir 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 professions time and energy is used up manufacturing demand for things that are inessential at best. Many of us have grown increasingly uncomfortablewith this view of design. Designers who devote theirefforts primarily to advertising, marketing, and branddevelopment are supporting, and implicitly endorsing,a mental environment so saturated with commercialmessages that it is changing the very way citizenconsumers speak, think, feel, respond, and interact.To some extent we are all helping draft a reductive andimmeasurably harmful code of public discourse. There are pursuits more worthy of our problem-solvingskills. Unprecedented environmental, social, and culturalcrises demand our attention. Many cultural interventions,social marketing campaigns, books, magazines,exhibitions, educational tools, television programs,films, charitable causes, and other information designprojects urgently require our expertise and help. We propose a reversal of priorities in favor of moreuseful, lasting, and democratic forms of communication a mind shift away from product marketing andtoward 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 BarnbrookNick BellAndrew BlauveltHans BocktingIrma BoomSheila Levrant de BrettevilleMax BruinsmaSin CookLinda van DeursenChris DixonWilliam DrenttelGert DumbarSimon EstersonVince FrostKen GarlandMilton GlaserJessica HelfandSteven HellerAndrew HowardTibor KalmanJeffery KeedyZuzana LickoEllen LuptonKatherine McCoyArmand MevisJ. Abbott MillerRick PoynorLucienne RobertsErik SpiekermannJan van ToornTeal TriggsRudy VanderLansBob Wilkinson

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

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

INDEX:

00LISA//ALBERT

03

04Experimentation! Sometimes, I feel like a mad scientist when it comes to Design. Or.thats just me being dramatic. I am a Graphic Designer, with big eyes. Im always open to new and different styles of design and I like to be well rounded. Ive yet to have aconsistent style for myself. I guess you could say my style is multiple styles. I dont want to always be in my comfort zone, wheres the fun in that? I do work best in controlled chaos, plus its frustratingly fun. Enjoying what youre doing should be a must, otherwise the output can be very lackingI prefer a fun and ever changing environment. I do enjoy travelIm going where the work is toexpand my horizons. Someone once said, Insanity is doing the same thing over and over again but expecting different results. I cant agree more.

06

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,

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

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 professions 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 communicationa 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.

First Things FirstA 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, 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 professions 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.



First Things FirstA Design Manifesto 2000First Things FirstA Design Manifesto 2000First Things FirstA Design Manifesto 2000First Things FirstA Design Manifesto 2000First Things FirstA Design Manifesto 2000First Things FirstA Design Manifesto 2000First Things FirstA Design Manifesto 2000First Things FirstA Design Manifesto 2000First Things FirstA Design Manifesto 2000First Things FirstA Design Manifesto 2000First Things FirstA Design Manifesto 2000First Things FirstA Design Manifesto 2000

First Things FirstA Design Manifesto 2000First Things FirstA Design Manifesto 2000First Things FirstA 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.


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 professions 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 communicationa 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.


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 communicationa 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. 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.


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 professions time and energy is used up manufacturing demand for things that are inessential at best.


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 communicationa 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 2000FirstThings First

I design because Im hard-wired to create things. I think we all are to some degree; its just the way we are. As designers, we are problem solvers, idea generators, and adept visual communicators, but in the end, its the power to create things that keeps me coming back to proverbial drawing board everyday.Sure, there s a sense of sa t is fact ion f rom coming up wi th a k i l le r idea, communica t ing tha t idea, and so lv ing a tough des ign prob lem in the process, but in the end, you just created a sweet looking design out of an idea pul led f rom somewhere in the back of your bra in. How cool is tha t?

07

JIMMY//FINAZZO

08


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, 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.


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.Fi

rst T

hing

s Fi

rst:

A D

esig

n M

anife

sto

(2000)

Jonathan BarnbrookNick BellAndrew BlauveltHans BocktingIrma BoomSheila L. de BrettevilleMax BruinsmaSian CookLinda vanDeursenChris DixonWilliam DrenttelGert DumbarSimon EstersonVince FrostKen GarlandMilton Glaser

Jessica HelfandSteven HellerAndrew HowardTibor KalmanJeffery KeedyZuzana LickoEllen LuptonKatherine McCoyArmand MevisJ. Abbott MillerRick PoynorLucienne RobertsErik Spiekermann

Jan van ToornTeal TriggsRudy VanderLansBob Wilkinson

09

We,

the

unde

rsign

ed, a

re g

raph

ic de

signe

rs, a

rt dir

ecto

rs a

nd vi

sual

com

mun

icato

rs w

ho h

ave

been

raise

d in

a wo

rld in

whic

h th

e te

chniq

ues a

nd a

ppar

atus

of a

dver

tising

hav

e pe

rsist

ently

bee

n pr

esen

ted

to

us a

s the

mos

t luc

rativ

e, e

ffecti

ve a

nd d

esira

ble u

se o

f our

talen

ts. M

any d

esign

teac

hers

and

men

tors

pro

mot

e th

is be

lief;

the

mar

ket r

ewar

ds it

; a ti

de o

f boo

ks a

nd p

ublic

ation

s rein

forc

es it

.

J. Barnb

rook

N. Bell

A. Blauv

elt

H. Bock

ting

I. Boom

S. de B

rettevill

e

M. Bru

insma

S. Cook

L. van D

eursen

C. Dixon

W. Dre

nttel

G. Dumb

ar

S. Ester

son

V. Frost

K. Garla

nd

M. Gla

ser

J. Helfa

nd

S. Helle

r

A. Howa

rd

T. Kalm

an

J. Keed

y

Z. Licko

E. Lupto

n

K. McCo

y

A. Mevis

J. Abbo

tt Miller

R. Poyn

or

L. Robe

rts

E. Spiek

ermann

J. van T

oorn

T. Trigg

s

R. Vand

erLans

B. Wilkin

son

Encour

aged in

this dir

ection,

designe

rs then

apply th

eir skill

and ima

gination

to sell

dog bis

cuits, d

esigner

coffee,

diamond

s, deter

gents, h

air gel, c

igarette

s, cred

it cards,

sneake

rs, butt

toners,

light be

er and h

eavy-

duty rec

reationa

l vehicl

es. Com

mercial

work h

as alwa

ys paid

the bills

, but m

any gra

phic des

igners h

ave now

let it be

come, in

large m

easure

, what g

raphic

designe

rs do. T

his, in t

urn, is

how the

world

perceiv

es desig

n.

The pro

fession'

s time an

d energ

y is use

d up ma

nufactur

ing dem

and for

things t

hat are

inessen

tial at b

est.

Many of

us hav

e grown

increas

ingly un

comfort

able wit

h this v

iew of

design.

Design

ers who

devote

their ef

forts pr

imarily

to adve

rtising,

marketi

ng and b

rand de

velopme

nt are s

upportin

g, and i

mplicitl

y endor

sing, a

mental e

nvironm

ent so s

aturated

with com

mercial

messa

ges tha

t it is c

hanging

the ver

y way c

itizen-c

onsume

rs spea

k, think,

feel, re

spond a

nd inter

act. To

some ex

tent we

are all

helping

draft a

reducti

ve and i

mmeas

urably

harmfu

l code o

f public

discou

rse.

There a

re pursu

its more

worthy

of our p

roblem

-solvin

g skills.

Unpre

cedente

d enviro

nmental

, social

and cul

tural cri

ses dem

and our

attenti

on. Man

y cultur

al interv

entions

, social

market

ing

campaig

ns, boo

ks, mag

azines,

exhibiti

ons, ed

ucation

al tools,

televisio

n progr

ams, film

s, char

itable c

auses a

nd other

informa

tion des

ign pro

jects ur

gently r

equire o

ur expe

rtise and

help.

We pro

pose a

reversal

of prio

rities in

favor o

f more

useful,

lasting

and dem

ocratic

forms of

commun

ication

a minds

hift awa

y from p

roduct

marketi

ng and t

oward t

he

explora

tion and

produc

tion of

a new k

ind of m

eaning.

The sco

pe of de

bate is s

hrinking

;

it must

expand

. Consu

merism

is runn

ing unc

ontested

; it mus

t be cha

llenged

by othe

r

perspe

ctives e

xpresse

d, in par

t, throu

gh the v

isual lan

guages

and res

ources

of des

ign.

In 1964

, 22 vis

ual com

municat

ors sign

ed the o

riginal c

all for o

ur skills

to be p

ut to w

orthwhi

le use.

With th

e

explosi

ve grow

th of glo

bal com

mercial

culture

, their m

essage

has onl

y grown

more u

rgent.

Today,

we ren

ew

their m

anifesto

in expe

ctation

that no

more de

cades w

ill pass

before

it is tak

en to he

art.

First Th

ings F

irst:

A Desi

gn Ma

nifesto

(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. M

any design teachers and mentors prom

ote 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, h

air gel, cigarettes

, credit card

s, sneaker

s, butt to

ners, lig

ht beer

and hea

vy-dut

y recre

ation

al veh

icles

. Com

merci

al wor

k has

alwa

ys pa

id th

e bills

, but

man

y gra

phic

desig

ners

have

now

let it

beco

me,

in la

rge m

easu

re, w

hat g

raph

ic d

e sig

ners

do.

Thi

s, in

turn

, is ho

w th

e wor

ld pe

rcei

ves d

esig

n. Th

e pro

fess

ion'

s tim

e and

ener

gy is

used

up m

anufa

cturin

g dem

and fo

r thing

s that a

re ines

sential

at best.

Many o

f us have

grown inc

reasingly u

ncomfortable

with this view of design.

Designers who devote their efforts primarily to advertising, marketing and brand development are supporting, and implicitly endorsing, a m

ental environment so saturate d w

ith comm

ercial 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 immeasurab

ly harmful cod

e of public

discours

e. Ther

e are pu

rsuits

more w

ort

hy of

our p

roble

m-s

olving

skills

. Unp

rece

dent

ed en

viron

men

tal, s

ocia

l and

cultu

ral c

r ises

dem

and o

ur at

tent

ion.

Man

y cul

tura

l inte

rven

tions

, soc

ial m

arke

ting c

ampa

igns, b

ooks,

magaz

ines, e

xhibition

s, educat

ional tools

, television prog

rams, films,

charitable causes and other information design projects urgently require our expertise and help. We propose a reversa l of priorities in favor of m

ore useful, lasting and democratic forms of communicationa mindshift away from product marketing and toward the

exploratio

n and pr

oductio

n of a n

ew kin

d of m

eanin

g. Th

e sco

pe of

deba

te is

shrin

king

; it m

ust e

xpan

d. C

onsu

mer

ism

is ru

nnin

g unc

onte

sted;

it mus

t be c

halle

nged

by othe

r perspe

ctives exp

ressed, in part, thro

ugh

the visual languages and resources of design. In 1964, 22 visual comm

unicators signed the original call for our skills to be put to worthwhile use. With the explosive growth of global commercial c

ulture, th

eir mess

age h

as on

ly gro

wn m

ore u

rgen

t. Tod

ay, w

e ren

ew t h

eir m

anife

sto i

n exp

ecta

tion t

hat n

o more

decad

es will p

ass befo

re it is taken to he

art.

11 JON//HILL

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.

14

Jonathan BarnbrookNick BellAndrew BlauveltHans BocktingIrma BoomSheila L. de BrettevilleMax BruinsmaSian CookLinda van DeursenChris DixonWilliam DrenttelGert DumbarSimon EstersonVince FrostKen GarlandMilton GlaserJessica HelfandSteven HellerAndrew HowardTibor KalmanJeffery KeedyZuzana LickoEllen LuptonKatherine McCoyArmand MevisJ. Abbott MillerRick PoynorLucienne RobertsErik SpiekermannJan van ToornTeal TriggsRudy VanderLansBob Wilkinson

FIRSTTHINGSFIRSTA DESIGN MANIFESTO

2000


Encouraged in this direction, designers then apply their skill and imagination to sell dog biscuits, designer cof-fee, 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, marketing and brand development are supporting, and implicitly endorsing, a mental envi-ronment 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, educa-tional tools, television programs, films, charitable causes and other information design projects urgently require ourexpertise 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 uncon-tested; it must be challenged by other perspectives expressed, in part, through the visual languages and resources of design.


THINGSFIRSTFIRST

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

Encour-aged in this direction, designers then apply their skill and imagination

Com

mercial w

ork has always paid the bills, but

many graphic designers have now

let it become,

in large measure, w

hat graphic designers do. This, in turn, is how

the world perceives design.

Many of us have grown increas-ingly uncomfort-able with this view of design. Designers who devote their ef-forts primarily to advertising, mar-keting and brand development are

so sat-urat-ed with com-mercial messages that it is changing the very way citizen-consumers speak, think, feel, respond and

, think, feel, respond and interact. To some extent

we are all helping draft a reductive

There are pursuits more worthy of our problem-solving skills. Unprecedent-ed environmental, social and cultural crises demand our attention. Many cultural interven-tions, social mar-

We pro-pose a reversal of in far or of more useful, lasting and

In 1964, 22 visual comm

unicators signed the original call for our skills to be put to w

orthwhile

use. With the explosive grow

th of global comm

er-cial culture, their m

essage has only grown m

ore

FFT T

TN

NNH

I ID E S I G N

MANI FE S

T O

2000

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.

15

16KARISSA//

JONICK

MIKE//KRAUSS

19

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 doesnt 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 wont stop designing until I reach that goal.

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 professions 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 communicationa 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

FIRST THINGS FIRST

a design manifestoJONATHAN BARNBROOK, NICK BELL, ANDREW BLAUVELT, HANS BOCKTING, IRMA BOOM, SHEILA LEVRANT DE BRETTEVILLE, MAX BRUINSMA, SIN 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, 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 professions 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 communicationa 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.


Jonathan Barnbrook, Nick Bell,

Andrew Blauvelt, Hans Bockting,

Irma Boom, Sheila L. de Bretteville,

Max Bruinsma, Sin 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

We, the undersigned, are graphic designers, art directors, and visual communi-cators who have been raised in a world in which the tech-niques and

apparatus of advertising have persis-tently been presented to us as

the

most

lucrative,

effective,

a n d

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 profes-

sions time and energy is used up manu-

facturing demand for things that are ines-

sential 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, maga-

zines, 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 communi-

cationa 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. 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 professions 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 communicationa 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. 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 professions 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 infor-

mation design projects urgently require our expertise and help. We propose a reversal of priorities in favor of

more useful, lasting, and democratic forms of communicationa 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. 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 publi-

cations 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 professions 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 inter-

ventions, 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 communicationa 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. 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 professions

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 communicationa 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. 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 professions 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 communicationa 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. 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

professions time and energy is used up manufacturing demand for things that are inessential at best. Many of us have grown increasingly

We, the undersigned, are graphic designers, art directors, and visual communicators who have been raised in a world in which the tech-niques and apparatus of advertising have persis-tently been presented to us as the most lucrative, effective, a n d desirable use of our talents. Many design teachers and mentors promote this belief; the market rewards it; a tide of books and publications rein-forces it. Encouraged in this direction, designers then apply their skill and imagination to sell dog biscuits, designer coffee, diamonds, deter-gents, 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 profes-sions time and energy is used up manu-facturing demand for things that are ines-sential 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, maga-zines, 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 communi-cationa 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. 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 professions 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 communicationa 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. 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 persis-tently 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 professions 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 communicationa 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. 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 publi-cations 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 professions 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 inter-ventions, 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 communicationa 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. 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 imag-ination 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 professions time and energy is used up manufacturing demand for things that are inessential at best. Many of us have grown increasingly uncom-fortable 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 communicationa 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. 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 professions 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 communicationa 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. 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 professions time and energy is used up manufacturing demand for things that are inessential at best. Many of us have grown increasingly

FIRST THINGS FIRST

It wasnt 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 wasnt 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. Its a place where I wouldnt be criticized for implementing text into my images. Now, Ill be graduating in May of 2011 and my next discovery to make is what I intend to do with my degrees. I figure if Ive stumbled upon these things throughout my life so far, Ill eventually figure out a way of using my talents in a way I prefer, hopefully!

24STEPH//LARSON


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 professions time and energy is used up manufactur-ing 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-- 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.


jonathan barnbrooknick bellandrew blauvelthans bocktingirma boomsheila de brettevillemax bruinsmasian cooklinda van deursenchris dixonwilliam drenttelgert dumbarsimon estersonvince frostken garlandmilton glaserjessica helfandsteven hellerandrew howardtibor kalmanjeffery keedyzuzana lickoellen luptonkatherine mccoyarmand mevisj. abbott millerrick poynorlucienne robertserik spiekermannjan van toornteal triggsrudy vanderlansbob wilkinson

firstThings1st:A

DesignManifesto2000


Encouraged in this direction, designers then apply their skill and imagination to sell dog biscuits, designer coffee, diamonds, deter-gents, 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 be-come, in large measure, what graphic designers do. This, in turn, is how the world perceives design. The professions 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 adver-tising, marketing and brand development are supporting, and implicitly endorsing, a mental environment so saturated with com-mercial 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 cam-paigns, 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 chal-lenged 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 ur-gent. Today, we renew their manifesto in expectation that no more decades will pass before it is taken to heart.

jonathan barnbrooknick bellandrew blauvelthans bocktingirma boomsheila de brettevillemax bruinsmasian cooklinda van deursenchris dixonwilliam drenttelgert dumbarsimon estersonvince frostken garlandmilton glaserjessica helfandsteven hellerandrew howardtibor kalmanjeffery keedyzuzana lickoellen luptonkatherine mccoyarmand mevisj. abbott millerrick poynorlucienne robertserik spiekermannjan van toornteal triggsrudy vanderlansbob wilkinson 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


nick bell

andrew blauvelt

hans bockting

irma boom


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


nick bell

andrew blauvelt

hans bockting

irma boom


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

firstThings1st:

ADesignManifesto2000

first

things

first:

A Design Manifesto 2000

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

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 bis-

cuits, designer coffee, diamonds, detergents, hair gel, cigarettes, credit cards, sneakers, butt ton-

ers, 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 professions time and energy is used

up manufacturing demand for things that are inessential at

Manifesto Book

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