Ethics in Graphic Design: A Call to Arms for an Undergraduate Course

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1 EthicsinGraphicDesign: ACalltoArmsforanUndergraduateCourse AThesisSubmittedtotheFacultyoftheGraphicDesignDepartment inpartialfulfillmentoftherequirementsforthe DegreeofMasterofFineArts SavannahCollegeofArtandDesign By EileenMacAveryKane Savannah,Georgia August2010

2 TableofContents Abstract...5 Thesis...7 Introduction...7 Legalities...13 Integrity...15 Morality...21 Conclusion...31 RecommendedCurriculum...33 Notes...35 Images...42 Bibliography...50 AppendixA...57 AppendixB...89 AppendixC AppendixD

3 ABSTRACT Thesisstatement Arequiredcourseaboutethicsingraphicdesigninundergraduategraphic designcurriculumwillhelptocreateinformedandresponsiblegraphicdesignersas wellasestablishstrategicandcriticalthinkers. Overview Thecontextofresearchlooksatcontemporaryissuesofethicsingraphic design.twoareasdirecttheresearch:1)whataretherulesofconductthatguide graphicdesignersintheirpractice?2)whatdoes rightconduct mean,practically, morally,andphilosophically? Researchincludesanassessmentofundergraduategraphicdesign curriculumacrossthenation,asurveyofundergraduatestudentstakinggraphic designcourses,andinterviewswithgraphicdesigneducatorsandpractitioners. Basedonthisresearch,relevantcontentforacourseaboutethicsingraphicdesign isexploredthroughthreedifferentlenses:legalities,integrity,andmorality. Resultsoftheresearchsuggestthatthereisavoidinundergraduategraphic designeducationintheareaofethicsingraphicdesign;studentsareunclearabout manyimportantethicalissuesingraphicdesignandgraphicdesigneducatorsand practitionersseeawidevarietyofimportantissuesrelatedtoethicsingraphic designthatstudentscanexpecttofaceduringtheircareers. 5

4 Thisthesissuggeststhatwecanusethreedifferentlensestoexploreand discussethicsingraphicdesigncurriculum:1)legalities therulesthatgovernthe professionincludingcopyrightlaw,piracy,plagiarism,fairuse,andphoto manipulation;2)integrity principlesofrightconductincludingspecwork,crowd sourcing,andresponsibilitytoclientsandcontracts;3)morality thegeneral natureofmoralchoicestobemadebyapersonincludingsustainability,social awareness,andculturalinfluence. Conclusion Currentgraphicdesigncoursestouchuponsomeoftheethicalissuesthat studentswillfaceduringtheircareers.however,includingarequiredcourse devotedentirelytoethicsingraphicdesignwillprovidestudentswithasolid frameworktopracticetheirprofessionresponsiblyandultimatelycreatestrategic andcriticalthinkers. 6

5 THESIS Introduction InThankYouForSmokingthemaincharacter,NickNaylor,aspokesmanfora tobaccocompany,states, Myjobrequiresacertain...moralflexibility. 1 Whileevery professionmustdealwithethicsinitsparticularfield,graphicdesignersaretrained to makethingslookgood. Theverynatureoftheircoremissioninherentlylends itselftoacertain moralflexibility. AnthonyGrayling,ProfessorofPhilosophyat BirkbeckCollege,UniversityofLondon,andaSupernumeraryFellowatSt.Anne s College,Oxford,England,thinksthataskinggraphicdesignersnottopersuadeislike askingfishermennottofish it swhattheyaretrainedtodo. 2 Sincegraphicdesigneducationcameintothemainstreaminthe1980s,the corecurriculumhasincludedcourseslike2ddesign,drawing,typography,and production.graduateswerepreparedtocreatelayoutsandproducemechanicals andspectype.inmorerecentyearsthoseskillshaveevolvedtoinvolvedigital technology.currentcourseofferingsincludecoursesinbusinesspractices, entrepreneurship,andsocialresponsibility.whilethesecoursesmaytouchupon someoftheethicalissuesingraphicdesign,theydon tofferanin depthlookatthe fullscopeofissues,andtherearestillnorequiredcoursesthatdealdirectlywith thistopic. Graphicdesigneducatorsareraisingacalltoarmstocreatecriticaland strategicthinkersandtocreaterealworldexperiencesforstudents.inscott Boylston spaper TeachingTowardanEthicalLegacyinGraphicDesign, he 7

6 discussescreatingprojectsthatforcestudentstoconsidertheintegralrolethatthe visualworldplaysininfluencingpeople sopinions.currentconversationsingraphic designandgraphicdesigneducationcenteraroundtransitioningfromthe traditionalroleofservicingconsumerismtocreatinggraphicdesignwithinthe themesofsocialresponsibilityandsustainabilitywhilecreatingstrategicand criticalthinkers.designprofessionalsanddesigneducatorsalikeacknowledgethat graphicdesignhasbeenundergoingaprolongedidentitycrisisinregardstowhom itshouldserveandtowhatend. 3 AtAIGA s(americaninstituteofgraphicarts,the professionalassociationfordesign)2009make/think,designprofessionals, educators,andstudentsgatheredtoexplorethewaysthatdesignersfocusbothon makingbeautifulthingsandonthinkingaboutproblemsstrategically.integralto thisdebateisthediscussionabouttherolethatgraphicdesignersplayascultural influencersversustheresponsibilitytheybear.withthisinmind,acourseabout ethicsshouldbealogicalcomponentoftheireducation. Historically,graphicdesignhasbeenanagentofmoralandethicalthought. FromthecodeofHammurabitoilluminatedmanuscriptstothebroadsheetsusedto spreadthewordofmartinluther,graphicdesignhasbeenusedtovisually communicatebeliefsandideas toinform,inspire,anddelight.duringthemiddle Agescampaignslikearsmoriendiweredesignedspecificallytoinfluencethe behaviorofindividuals,inthiscaseurgingthoseontheirdeathbedfromthebubonic plaguetoleavetheirmoneytothechurch(fig1).sovietpropagandaproducedby artistslikeellissitskywhofullysupportedthegovernmentaftertherussian 8

7 revolutionpracticallyrewrotesoviethistory(fig2).morerecentlytheobama brandingcampaignhasbeendeemedoneofthemostsuccessfulbranding campaignsforapoliticalcandidateandcause(fig3). Despiteitshistoricalroots,graphicdesignisinitsinfancyintermsofbeinga recognizedprofessionand,assuch,islessthan100yearsold.itwasnotidentified until1922whenwilliamaddisondwigginscoinedthetermgraphicdesignto describehisactivitiesasanindividualwhobroughtstructuralorderandvisualform toprintedcommunications. 4 Duringthemid twentiethcenturygraphicdesignwas referredtoascommercialart,anddesignerslikepaulrand,saulbass,andmilton Glaserprovedthatgooddesignaddedvaluetoproductsandservices.Consequently graphicdesigngrewinnotoriety.theibmlogodesignedbypaulrandisone exampleofthepowerfulbrandidentitiesthatwerecreatedduringthisera(fig.4). Throughoutthistimeperiod,schoolsspecializingingraphicdesignwereborn,and thegraphicdesigncurriculumwasdeveloped. Overtheyearstherequiredcourseshavechangedtorespondtotechnology andcontemporaryculture,butthereisstillanoticeablelackofcoursesaboutethics ingraphicdesign.resultsfrominterviewswithgraphicdesigneducatorsand practitionersaboutwhattheyperceivetobethemostimportantethicalissuesin graphicdesigntodayrevealthemyriadofopinions.whenaskedwhatthemost importantissueisthathethinksgraphicdesignstudentswillfaceintheircareers, author,artdirector,andeducatorstevenhellerresponded, Interestingquestion. Theanswerisnotspecific.Everyindividualwillfacedifferentconcerns.Somewill 9

8 beaskedtoserveaclienttheymightnotlikeoraproducttheymightnotcarefor, whileothersmightbefacedwithwhetherornottoundercutacompetitor.there arenouniversalanswers. 5 Heller sanswerspeakstotheheartoftheissue. Researchconductedthrough ,phone,andsocialnetworkingsiteswithover60 graphicdesignprofessionalsandeducatorsaskingthemwhattheythinkisthemost importantissuefacinggraphicdesignstudentsyieldedavastseaofanswers. Includedamongtheissuesnamedwerecopyright,non paymentforservices,font licensing,specwork,crowdsourcing,corporatesponsorship,workingforsomeone youdon tlikeorwhoseproductorserviceyoudon tbelievein,andsustainability. (SeeAppendixA) Ironically,despitesuchalonglistofissuesthatcomeupwhendiscussing ethicsingraphicdesign,undergraduatecoursesdirectlyaddressingethicsin graphicdesignaresorelylackingwithingraphicdesigncurriculum.perhapsthe reasonthatethicsisnotarequirementinundergraduategraphicdesigncurriculum isthatitopensupapandora sboxofissues.asurveyoftwentydifferentnationally recognizeddesignschoolsshowsthatacourseaboutethicsingraphicdesignisnot partofstandardgraphicdesigncurriculum.coursesinsustainability,socialchange, andbusinesspracticesingraphicdesignareofferedatsomeschoolsaselectivesand focusondifferentaspectsofethicsingraphicdesign,buttherearenorequired coursesthatdirectlyaddressthefullspectrumofethicsingraphicdesign.(see AppendixB)Whenaskedwhatthebiggestissuegraphicdesignstudentswillfacein theircareersis,aigamedalistandprofessormeredithdavisofnorthcarolinastate 10

9 Universityresponded, thetopicisenormous,entirearticleshavebeenwrittenon justoneareaofethicsingraphicdesignalone. 6 Davis statementechoesthefindings oftheresearch;thereisahugespectrumofethicalissuesthatgraphicdesign studentswillencounterduringtheircareers.thenumberofdifferentissuesraised bygraphicdesigneducatorsandpractitionersvalidatesthatethicsisanimportant topicinthefieldofgraphicdesignandwarrantsacoursedevotedentirelytoit. InherarticleforCommunicationArts, WhereOurWildThingsAre Part1, Graphicdesignethicsinanageofexacerbation, brandstrategist,designer,and authordkhollanddiscussestheuglytruthaboutdesign taboos workon speculation,plagiarism,piracy,workforhire,stocklogos,cronyism,unsustainable design andhowtheyarebeingbrokendaily.hollandsays, whatisexacerbatingis thatnotonlyarethesetaboosbeingbroken,butthatthereisno CodeofEthics promotedbyaiga. 7 HollandgoesontosaythatAIGAhasanonlinedocument,the StatementofProfessionalStandards, thatoutlinesbusinesspracticesand addressessomeissuesofethicalnaturebutexcludesandskirtsothers. 8 Holland assertsthat studentswithnoprofessionalexperiencearedauntedby professionalismanddon tunderstandtheimportanceofprofessionalstandards.it needstobebroughtaliveforthem. 9 TheplethoraofissuesraisedinHolland s articlesoundsacalltoarmsforacourseinethicsingraphicdesignand considerationthatthediscussionandexplorationofthewiderangeofethicalissues thatgraphicdesignersfaceshouldbearequiredcomponentintheeducationofa graphicdesigner.thiswillnotonlyraiseawarenessandunderstandingofthese 11

10 importantissues,butitwillalsocreateadialogueamongourfuturedesign professionalsthatwillenhancetheirabilitytobestrategicandcriticalthinkers. Thetopicofethicscausesdiscomfortamongpeoplebecausethere safeeling thatit ssomethingweshouldsomehowalreadyknowthathastodowiththevalues ofrightandwrongthatwe vebeenbroughtupwith.inhisbookmoralimagination, MarkJohnsonstatesthatwewouldbemorallyirresponsibletothinkandactasifwe possessauniversalreasonthatgeneratesabsoluterules,decision making procedures,anduniversalorcategoricallawsbywhichwecantellrightfromwrong inanysituationweencounter. 10 AccordingtoJohnson,absolutemorallawsignore what strulyimportantabouttheconceptofmorality,toachieveimaginative dimensionsofmoralunderstandingthatmakeitpossibleforustodeterminewhat s reallyimportantinanygivensituationorrelationshipandtomakewisedecisions accordingly. 11 Theabilitytoreachthesedecisionsrequiresexploration,discussion, andimagination. Ifwebeginbydefiningethicsaccordingtothedictionary,wecanstartby lookingatethicsas therulesorstandardsgoverningtheconductormembersofa profession. Anotherlistingdefinesethicsas asetofprinciplesofrightconduct. Lastly,thedictionarydefinesethicsas thestudyofthegeneralnatureofmoral choicestobemadebyaperson. 12 Usingthesedefinitionsasastartingpoint,wecan usethreedifferentlensestoexploreanddiscussethicsingraphicdesign: 1) legalities therulesthatgoverntheprofession copyrightlaw, piracy,plagiarism,fairuse,photomanipulation 12

11 2) integrity principlesofrightconduct specwork,crowdsourcing, responsibilitytoclientsandcontracts 3) morality thegeneralnatureofmoralchoicestobemadebya person sustainability,socialawareness,culturalinfluence. Obviously,theseareasoverlap.Photomanipulationinvolvesmoralchoicesas wellasissuesofintegrity.violatingcopyrightlawhasclearlegalconsequences; however,it salsoamatterofintegrityifgraphicdesignersareawareofcopyright lawsandsimplychoosetoignorethem.asthenatureofethicsisnotstrictlyblack andwhite,itwouldbenearlyimpossibletolookatethicsthroughasinglelens withoutrespectorcarefulconsiderationofitsrelationshiptoallareasofethics. Legalities Onewouldthinkthatlegalitiesingraphicdesignwouldbefairlyblackand white. Rightconduct isgovernedbylawinmostcases.however,evenherethere areissuesofdebate.traditionalcopyrightlawsgrantexclusiverightsofownership for50yearsandofferprotectiontocopyrightowners.larrylessig,copyright lawyerandchairofcreativecommons,haschallengedtheselaws.hecontendsthat currentcopyrightlawsareantiquatedandoutofsyncwithcontemporaryculture. 13 Hesuggeststhatcurrentcopyrightlawactuallycreatesacultureoflawbreakersand thatalternativeoptionsforlicensingimagesandothercreativecontentwillcreatea culturethatismorelikelytocomplywiththelawandprotectartistsinsteadof creatingacompletedisregardforcopyrightlawandtheconsequencesthatensue

12 Inadditiontocopyrightlawandfairuseissues,fontlicensing,softwareend userlicensing,piracy,plagiarism,andcorrectimageusagearesomeoftheother legalissuesthatgraphicdesignersneedtobeawareof.whenundergraduate graphicdesignstudentsansweredasurveydesignedtogaugetheirknowledge aboutethicalissuesingraphicdesign,theresultsshowedthattherearemanyissues theyknowlittleornothingabout.questionsconcerninglicensingfonts,reading termsandconditionsforeulas(enduserlicenseagreements),andcorrectimage useallshowedthatahighnumberofstudentsareunsureandunclearaboutthese issues.ofalltherespondents,59%ofthestudentsanswered sometimes when askediftheyonlyuseproperlylicensedfontsand16%saidthattheydidn tknow whatthismeant.whenaskediftheyreadthelegalcopyoneulas,54%answered sometimes. Whenaskedifit soktouseimagesthattheyfindongoogle,23% answeredwith Idon tknow. (SeeAppendixC)LisePrown,Professorof IntroductiontoDigitalArtatMountSt.Vincent,Bronxville,NY,statesthatinher experiencestudentshavenoideawhatcorrectimageuseis. 15 Sheteachesthemhow touseflickrandcreativecommonsandhowtotellifimagestheygrabcanbeused. Shealsodiscussestheimportanceofteachingclientsaboutimageuse. 16 Graphic designstudentsneedtothinkandactresponsibly.iftheyaretaughtaboutthefull scopeofethicsingraphicdesignandincorporatethesepracticesintotheir coursework,thenlaterthetransitiontotheirprofessionalworkwillbeaneasyone. Whengraphicdesigner,educator,author,andAIGAGoldMedalistEllen Luptonwasaskedforapersonalstoryaboutethicsingraphicdesign,shesharedher 14

13 experienceofbeingaskedbyalawyerfortheassociatedpresstobeanexpert witnessintheshepardfaireycaseandhisuseoftheapphotointheobamahope Poster. 17 Thecasehasbeenoneofthemostfamousexamplesof fairuse andit s beenhotlydebatedastowhetherornotfairey sposterwasindeedfairuseofthe photoorcopyrightinfringement.luptondecidednottotestifybecauseshefeltthe casehadtoomuchmoralambiguity. 18 Shesaidthatwhenitwaslaterdiscovered thatfaireyhadliedaboutwhichimagehehadused,theissuebecamefarless ambiguous. 19 Lupton sdilemmapertainstoanareaofethicsingraphicdesignthatis notclearlyblackandwhite.thelinesbetweenappropriation,fairuse,andcopyright infringementaregreyandcaneasilyshift.alackofunderstandingorawarenessof whatthelawsandstandardsarecanmaketheissueevenmoreconfusing.the legalitiesandstandardpracticesforthesetopicsaswellasotherrulesofconductin graphicdesignarereadilyavailablethroughnumeroussources:books,websites, andeulas.aigaoffersguidelinesforalltheseissuesonitswebsite. Graphicdesign students,aswellasprofessionals,needtobemadeawareofboththepresenceand contentoftheseresources. Integrity Anareainethicsingraphicdesignthatisalsofilledwithshadesofgreyis integrity.issuesofintegrityincludeworkingonspeculation,corporatesponsorship, certification,andoneofthehottesttopicsbeingdebatedamonggraphicdesigners today crowdsourcing.thegeneralconceptofcrowdsourcing,though,doesn t 15

14 applyonlytographicdesign.inessence,crowdsourcingisanysortofoutsourcing thatinvolvesalargegroupofpeopleactivelyparticipatingintheproject. 20 Inthe graphicdesignindustry,whatitmeansinpracticaltermsisthatsiteslike Crowdspring.comandElance.comhaveapoolofgraphicdesignerswhocompete againsteachotherbybiddingforprojects.withcrowdspring,graphicdesigners producetheworkandpresentitforconsiderationtotheclient,andthentheclient picksthedesignhe/shelikesbestandsubsequentlypaysonlythatdesigner.the resultsofthisareobvious it sdoingworkonspeculation andgraphicdesigners whoseworkdoesnotgetpickedgetnocompensationatall.withelance,graphic designersposttheirratesforservices,inessenceunderbiddingeachothertoobtain work.becausethisisaglobalarena,designersarenotonlycompetingagainsteach otherwithintheirsameeconomicenvironment,buttheyarealsocompetingagainst thevalueofthedollar.proponentsofcrowdsourcingarguethatit safreetrade systemandactuallygivesyoungdesignerswhodon thaveabigclientlistor portfoliofilledwithworkachancetobejudgedonmeritalone.inanarticlefor CommunicationArts,creativeartsmanagementconsultantDavidBakersays, Ihave aclientwith64employees,allbut4ofwhomareincolombiadoingweb developmentforfortune500companies.allthewhilemakingroughlyone thirdof whattheiru.s.counterpartsmake,andtwicewhattheirfellowcitizensmake. 21 Bakerassertsthatcrowdsourcingwillbeaself selectiveprocessandthatclients withsmallbudgetswillusecrowdsourcingandallowdesignerstoconcentrateon clientsthatvaluetheirservices. 22 Bakerandotheradvocatesforcrowdsourcing 16

15 believeitwillchangetheplayingfield,anddesignerswillbevaluedforstrategicand creativethinking,nottheproductionoflogosandotheroutputthatwillbecome commoditizedandproducedthroughmethodslikecrowdsourcing. Ontheoppositesideoftheargument,manygraphicdesignersalongwith AIGAaretakingahardstandagainstcrowdsourcingandspecwork.AIGAhas publishedtheirstanceonlinewheretheydetailtherisksinvolvedforbothdesigners andclientswhentheyengageinspecwork. 23 Designersriskbeingtakenadvantage ofaswellasnotbeingpaidfairlyoratallfortheirservices.clientsrisk compromisedqualitywhenresearch,thedevelopmentofmultipleoptions,andlack oftestingandprototypedevelopmentfallbythewayside.bothpartiesfacelegal risksaswellshouldaspectsofintellectualproperty,trademarkandtrade dress infringementsbecomeafactor. 24 Despitebeingatopicofsuchhotdebateamonggraphicdesignprofessionals, whenundergraduategraphicdesignstudentsweresurveyed,nearlyhalfofthem didn tevenknowwhatworkingonspeculationmeans. 25 Theotherhalfwerealmost evenlysplitbetweenthinkingit sacceptabletoworkonspeculation,it snot acceptable,andthatitdependsonthecircumstances. 26 Corporatesponsorshipisanotherissueofintegritythatgraphicdesign studentsmaynotbeawareof.usedbyeducationalinstitutionsasanalternate streamofrevenue,corporatesponsorshipsallowprivateindustrytobuythenaming rightsforclasses.proponentsclaimthatitallowsthemtokeepclassesrunningand thatthecorporationsrarelygetinvolvedindefiningcurriculum. 27 Criticscontend 17

16 thatitcompromisestheintegrityofthecurriculumandendsupservingasan endorsementforproductsandservices. 28 TheUniversityofWisconsinatMadison offersdoctorsandotherhealth careprofessionalsanonlinecontinuing education courseonmenstrualdisordersthatisfundedbythepharmaceuticalgiantbayer. Whiletheclass'stitledoesn'tcarryBayer'sname,thecompany'sdrugsare mentionedinthecourse,andtheschoolfullyacknowledgesthearrangementin coursematerials. 29 GraphicdesignerandeducatorRobynWaxmanwasappalled whenthegraduategraphicdesignprogramatcaliforniacollegeoftheartsasked thatshegiveintelcorporationnon exclusive,perpetual,irrevocable,royalty free, fullypaiduplicenseunderallofhercopyrightandtradesecretrightsinandtoany ofherideas,creationsorcopyrightedworkscreatedbyherasastudentduringa requiredcourseintheprogram. 30 Whensherefusedtosigntheagreementshewas forcedtoleavetheclass.themostsurprisingthingtoherwashowanxiouslyand enthusiasticallyherclassmatessignedthewaiverandgaveawaytheirlicensing rights. 31 Ifstudentswereknowledgeableaboutthefullimplicationsoftheiractions andthattheywereactuallysigningawaytherightstotheirownartworkatthe financialgainofthecorporationwithnoneforthemselves,theymightnotsignso readily. Anotherissueofintegrityiscertification.Canada,Switzerland,andNorway aresomeofthecountriesthatoffercertificationforgraphicdesigners.itiscurrently atopicofdebateamonggraphicdesignersintheunitedstatesandhasbeenforover adecade.artdirectorandgraphicdesignprofessorgreggbernsteinstates, Ithink 18

17 certificationisbestreservedtofieldsanddisciplineswherethereisasubstantial safetyorlegalrisktobeingimproperlytrained.medicine,law,psychology, psychiatry,buildingtrades:donepoorly,theriskhereissignificant.anuncertified graphicdesignermightmakeapoordesign,butpooralignmentneverharmed anyone. 32 DKHollandfeelsthatcertificationwouldbeawasteoftime.Shefeels theremayhavebeenatimewhenitwouldhavebeenuseful,butwearepastthat. Shesays, certificationwon taddanyvaluetotheroleofagraphicdesignerorhelp withthecurrentproblemsoflackofrespectforwhatwedo. 33 EllenLuptonand StevenHellerarebothopposedtocertification.Luptonfeelsthatdesignisawayof thinkingandworkingthatisaccessibletoeveryone. 34 Hellerbelievesthatthereis nowaytocertifyadesigner. 35 Thevariedresponsesfromthesedesignersandthe senseoffutilityconveyedbythempointstotheimportantneedforaninformed discussionaboutitintheclassroom. Proponentsofcertificationfeelthatattheveryleastitestablishesa minimumstandardofprofessionalismandminimumlevelofperformanceregarding businessprocedures,education,skill,andethicalbehavior. 36 Certificationdoesnot stopanyonefromdesigningbutratherrecognizesacertainlevelofprofessionalism withintheindustry.inontario,graphicdesignersreceivethedesignation RegisteredGraphicDesigner (RGD)uponpassinganexamination.Aquarterofthe examevaluatesknowledgeofprofessionalconductstandards.thecurriculumin Ontariodesignschoolspreparesgraduatestopasstheexam.(SeeAppendixD) DavidBerman,graphicdesignerandauthorofDoGoodDesign:HowDesignersCan 19

18 ChangetheWorld,feelscertificationalsohelpstoprotectsocietyfromthedamages ofpredatorypersuasionandexploitativedesignmuchthesamewaythat certificationofarchitectsprotectsagainstbuildingsthatcouldfalldown. 37 AmongtheotherswhosupportBerman scallforcertificationisrichard Farson,authorofthebookThePowerofDesign:AForceforTransformingEverything. Farsonassertsthatwhenonethinksofaprofession,oneimaginesthatthosewho practiceitwouldputhumanitarianissuesfirst. 38 Hestatesthatpeopleseek professionals advicebecausetheytrustthattheirjudgmentisbasedonthatspecial kindofwisdomthatcannotbeexercisedinbusiness. 39 Farsonandhisproponents believethatdesignersaredrivenbytheneedsofbusinessandsolveproblemsthat areclient basedwithshorttermgoalsratherthantakingaholisticapproachthat looksatthesystemswithlongtermgoalsinmind. 40 Somefeelthatthepursuitofa terminaldegreeinthefieldofgraphicdesign,anmfa,supportsthisgoal,butothers feelcertificationwillyieldgreaterethicalresponsibilityacrossawiderfieldof practitioners. 41 Graphicdesignstudents thoughtsaboutcertificationreflectthe opposingopinionsamongeducatorsandprofessionals;theyarealmostevenlysplit onthetopic.when48undergraduatestudentsweresurveyed,25saidtheythink graphicdesignersshouldbecertifiedwhile23saidtheythinktheyshouldnotbe certified. 42 Ifstudentshadtheopportunitytofullyunderstandtheimplicationsof certification,thesenumberswouldreflecttheopinionsofamoreinformed audience. 20

19 Inadditiontospecwork,crowdsourcing,corporatesponsorships,and certification,therearemanyotherissuesinvolvingintegrityinthefieldofgraphic design.kickbacks,designplagiarism,clientspayingforservices(orrefusaltopay forservices),cronyism,andethicaltreatmentofemployeesareallissuesthe studentscanexpecttoface.industryprofessionalsgaveaccountsaboutgraphic designersstealingfellowdesigners workandpresentingitastheirown,being askedtocreatemarketingmaterialsfor theboss wife, havingtheirworkused withoutpermissionorcompensationbyrespectedorganizationslikethemuseumof ModernArt,havingtotestifyincourtaboutkick backs,andevenhavingaclient refusetopayover$40,000indesignfees. 43 Withsomanyissuesandtopicsdealing withintegritythatgraphicdesignersexperienceduringtheircareers,itmakessense topreparestudents. Morality Oneofthebiggestquestionswhendiscussingethicsingraphicdesigniswhat good designmeans.inthe20 th centurygraphicdesignbecameavaluedtoolfor corporateamerica.thiswasexemplifiedwhenibmlegendthomaswatsonjr.gave alectureatthewhartonschoolofbusinessandcoinedthephrase GoodDesign MeansGoodBusiness. 44 Designersweregenerallyseenastoolsofcapitalism. Creatingbrands,packaging,andmarketingforconsumergoods,graphicdesigners becameanintegralpartofthefreemarketsystembycontributingtothecreationof wealthinsociety.freemarketsupportersbelievethatthiswillcreatepeaceful 21

20 relationsandmoralbehavior.infact,alangreenspan,americaneconomistand chairmanoftheu.s.federalreserveboardfrom1987to2006,thoughtthatfraud shouldn tbetheworryofregulators. 45 Headvisedthatifsomeonecommittedfraud, thebusinesscommunitywouldpoliceitselfbyanaturalprocessofselectionby refusingtodobusinesswiththatperson. 46 Hebelievesthatthefree marketselfcorrects. 47 Intoday seconomicandpoliticalenvironment,thispolicyisthoughtby manytobeacompletefailure.opponentsfeelthatunbridledspendingandgreedy consumerismhasledoursocietytothestateofrecessionwherewefindourselves today. 48 Thefree marketsystemisseentobecontradictorytoissuesof sustainabilityandencouragingsocialandcommunityawareness. Anotherdefinitionofwhat gooddesign meansspeakstotheresponsibility thatdesignershaveformakingthingsbeautifulinordertoimpactourqualityoflife. Throughoutthecourseofhistory,thecreationofarthasbeenessentialtohuman survival.inherbookwhatisartfor?authorellendissanayakewritesthatartis usedforfunctionalsocialmotivationsandeffects. 49 Showingone ssocialor professionalposition,asinabusinesscard,orillustratingimportantmythsor preceptsbyattractingattentionandconveyinginformationtakesformwith aestheticelements.evolutionarybiologistsagreethattheartshavesurvivalvalue. 50 Thereisoverwhelmingevidencethatpeopleeverywhereexpressandrespondtoart anddesign.designermiltonglasersaysthattheultimatechallengefordesignersis tocreatebeautiful,notjustsustainable,design.glaser,alongwitharthistoriansand scholars,believesthatwearesecretlychallengedtorespondtobeautyasaspecies; 22

21 beautyisthemeansbywhichwemovetowardsattentivenessthatprotectsour speciesasasurvivalmechanism.creatingartanddesignisasintrinsictohuman beingsasspeechandtoolmaking.glaserthinksthatultimatelyit stheresponsibility ofthegraphicdesignertoinformanddelightbycreatingbeautifuldesigns. 51 AccordingtotheOxfordEnglishdictionary good means ofhighqualityor acceptablestandard. 52 Howisthismeasuredingraphicdesignandhowdoesone determinewhatthevalueofapieceofdesignis?graphicdesignersareresponsible tomanypeople.likeeveryoneelse,graphicdesignershavecontractualduties, dutiestoclients,tostakeholders,tocolleagues,tothemselves,totheirwork,and lastly,tosocietyatlarge.aregraphicdesignersultimatelyaccountableforhowthe worktheyproduceaffectspeople slives?aretheyaddingunnecessaryinterruption topeople slivesorhelpingsomeoneinsomeway?whereandhowdographic designersdrawtheline?whatiftheyarefacedwithworkingforaclienttheydon t agreewithorfiringstaffifturningdownajobmeansnotenoughworktokeep everyoneemployed? Issuesofmoralityarerarelyblackandwhite,andthatisoftenwhatmakes manypeopleanxiousabouttheethicsofmoralityandwhatdefines gooddesign. AnthonyGraylingfeelsthatacodethatsays thoushalt and thoushaltnot is inflexibleandfitsawkwardlywithreallife. 53 Graylingstatesthattodeviseanethical codefordesignersonewoulddobettertogiveexamplesofwhataresponsibleand well intentioneddesignerwoulddo. 54 Thetraditionalpictureofmoralityisrulefollowing,whichresultsindeeptensionsforpeoplebetweentheirinheritedviewof 23

22 amoraltaskandthemoraldilemmastheyactuallyexperience. 55 Alistofstrictrules hasprovenverydifficulttoobserveinpractice,whichisalwaystheproblemwith top downethics.thealternativeideaofa wayofbeing isbottom up,whichrests onindividualsbeingconsciousoftheirinvolvementinsocietyandtheimpactthey haveonit. 56 RichardHolloway,formerChairoftheBritishMedicalAssociationSteering GrouponEthicsandGeneticsandBishopofEdinburgh,iscurrentlyChairofthe ScottishArtsCouncil.Hollowayfeelsthatwhatmayservegraphicdesignbestin termsofethicsisanethicofservant hood,basedontheideathathelpingother peopleisagoodthingtodo. 57 ThisisbasictoChristianity.Godcomesamongusnot tolordoverusbutasaservant toamplifyourlivesandmakeourlivesmore abundant.hollowayfeelsthisisawonderfulethicforanypublicservant,including graphicdesigners. 58 Hecanseewhereitmaybeaconflictfordesignerswhostrive tobeuniqueandbreaknewground. 59 Ifgraphicdesignersapproachtheirwork morelikejournalism togettothetruth,todescribeevents,andtodelightothers withtheirprose itcanbecomeanart,somethingsuperiorbyvirtueofthemystery ofgrace. 60 Designingforsocialresponsibilitycorrelateswithideasofservant hood,and somedesignschoolsareteachingcoursesthatfollowthisthinking.injanuary2009, HartfordArtSchoolProfessorNatachaPoggioandateamofsixartanddesign studentstraveledtoabheypur,indiatoimplementthe WaterforIndia sanitation campaignaspartnerstotheworksoftheengineerswithoutbordersstudent 24

23 ChapterattheUniversityofHartford. WaterforIndia aimstoconveythe importanceofcleanliness,sharing,andrespectforwaterresources.duringthe Januarytrip,theteampaintedamuralatthegirls primaryschool(fig.5)and distributedcoloringbookswithsanitationtipsaswellast shirtswiththecampaign logo.whatbeganasanassignmentinthespringof2008foraclasscalled Issuesin Design grewintoanongoingeffortafterreceivingfeedbackfromabheypur s villagers.sincethestartoftheproject,thestudentsworkedonthiswide reaching effortcollaborativelywithotherdisciplines,teammembersandcultures.the studentsandprofessorpoggiohavecontinuedusingdesignasawaytoeducateand empowerpeople.thesocialconsciousnessandawarenessofthoseinvolvedgrew throughtheprocessofresearchandlearningtodesignforamoreuniversal audience.theeffortcontinuedinthenextsessionof IssuesinDesign inspring 2009,wherethestudentsworkedonanewwellnesscampaigndesigning kangas (traditionalcottongarmentsthatsub Saharanwomenwear)forlocalcommunities inthelakevictoriaregionofkenya.professorpoggiocontinuestoteach Issuesin Design alongwithaspecialtopicsclasscalled DesignGlobalChange (DGC),which focusesonglobaldesignprojects. 61 WhenAnthonyGraylingwasaskedwhetherornothethinksgraphicdesign isaboutmanipulation,hesaidthatgraphicdesignstemsfromtheartofrhetoricand wasdevelopedinclassicalantiquitywhenoratory,orverbaleloquence,wastheonly meansofconveyinginformationandpersuadingpeopletoseeacertainpointof view. 62 Nazidesignwasanexampleofthisatitsworst(Fig.6).It sgenerallyagreed 25

24 thatthenaziregimeuseddesigntotremendouseffect.onatechnicallevelitwas extremely good design.however,oncepeopleconsiderwhattheirdesign represented,it smuchmoredifficulttorefertothedesignas good. Inhisbook IronFists:Brandingthe20th CenturyTotalitarianState,authorStevenHellerasks, howdidapracticeasvileasbrandingbecomesovalued,indeed,theverymarkof value? 63 Hellerwriteshowinthepastbrandingwasusedforslavesandcriminals. Today,citiesandcollegeshavejoinedtoothpastesandsoftdrinksinthebattlefor brandloyalty. 64 Hellercomparescorporatebrandingstrategies slogans,mascots, jinglesandtherest tothoseadoptedbyfourofthemostdestructive20th century totalitarianregimes:fascistitaly,nazigermany,thesovietunionunderleninand Stalin,andMao schina.hellerassertsthatdesignandmarketingmethodsusedto inculcatedoctrineandguaranteeconsumptionarefundamentallysimilar. 65 Artist,designer,andeducatorLouisTomainohasservedasaprojectdirector attheinstituteforlearningtechnologiesatcolumbiauniversity'steacherscollege. Whenaskedwhathefeelsthebiggestethicalissueisthatgraphicdesignstudents willface,tomainorespondedwith theirroleindefiningsociety,culture, civilization. 66 Inhisinterviewhepointstomanywaysthattheintersectionof cultureandtechnologyhaveputusatriskinlosingtouchwithauthenticityand valuableexperiencesthatkeepusconnectedtoourhumanity. 67 Tomainofeelsthat theconstantandnownearlyubiquitousbroadcastingoftheinternetandtelevision inhibitspeople sabilitytothinkverywellorrelaxinameaningfulway. 68 Hegoeson tosaythatthisbroadcastdefinessocietyandstillsitspositiveandcreativeevolution 26

25 bysubstituting metaphorically sawdustfortheexperienceofaforest,and actually thelightofthecolorsofacommercialonascreenfortheexperienceof sunonthewallandfloor,aplacewherenewideasmaybewrittenbythemind. 69 Theissueofthedesigner sroleindefiningsocietyandplacewithinitwasalso raisedbyrobynwaxmanwhosaid, mybiggestethicalissueconcernswhetheriam braveenoughorcareenoughtofollowthattrailofmanufacturingtolearnthatthe productorserviceiamabouttopromoteistheverythingthatunderminesmeand whaticareabout. 70 TheissuesthatTomainoandWaxmanraisespeaktotheheart ofwhatmanythinkofwhentheterm ethics isused howgraphicdesignaffects humanity. Sustainabilityisanothertopicthatmanygraphicdesignersfeelisanissueof ethicsbestviewedthroughthelensofmorality.whentheconceptofcreatingecofriendlydesignfirstcametotheforefrontmorethanadecadeago,issuesaboutthe toxicityofinkandpaperandthesheerquantityofpaperproducedwereraised. We vesincelearnedthatthere smuchmoretothelifecycleoftheproductsthat graphicdesignershelpproduce.toreallydeterminethesustainabilityorcarbon footprintofaproduct,oneneedstofollowitthroughitsentirelifecycle(fig.7). Howmuchfuelisbeingusedforshipping?What sthefinalendproduct?howlongis thelifecycle,andhowlongbeforetheproductendsupaswaste?ingreengraphic DesignauthorBrianDoughertyasksgraphicdesignerstostartattheendofthe processinsteadofthebeginning.designersshouldimaginethebestpossibledestiny forthedesignandvisualizetheprocessofeveryphasefromthefinaldestinationof 27

26 theproductattheendofitslifecyclebacktothedesignstudio.furthermore,they shouldconsidereverythingfromthetimeofitsultimatedisposaltoitsconception includingtransportation,warehousing,production,andmanufacturingthatmay preventgreensolutionsfrombeingimplemented. 71 Whencompaniesclaimtobeeco friendlybasedonamyopicviewof sustainabilityandwithoutlookingatalltheimplicationsoftheiractions,theymay endupbeingguiltyofgreenwashing thepracticeof spinning theirproductsand policiesasenvironmentallyfriendly,suchasbypresentingcostcutsasreductionsin useofresources. 72 Unlikeothertopicsviewedthroughthelensofmorality, sustainabilityinvolvesbothapointofviewandsetofvaluesalongwithmeasurable actionsthatgraphicdesignerscantake. TheconceptofthebookandmovementCradletoCradle:RemakingtheWay WeMakeThingsisthatit snotenoughforusto reduce,reuse,andrecycle as environmentalistsurge.authorswilliammcdonoughandmichaelbraungart explainhowproductsneedtobedesignedfromtheoutsetsothataftertheirlives theywillprovidenourishmentforsomethingnew. 73 They vespentthepastdecade workingwithclientstocreatesystemsthatembodythisconcept.theyfeelthat whendesignersemploytheintelligenceofnaturalsystems theeffectivenessof nutrientcycling,theabundanceofthesun'senergy theycancreateproductsand systemsthatallownatureandcommercetofruitfullyco exist. 74 Thisimportant conceptcouldbeusedbygraphicdesignersintheirpractice.thediscussionand 28

27 explorationofhowtoimplementtheseconceptsintotheirworkwouldbeextremely beneficialtographicdesignstudents. Onlinetherearenumeroussitesthatfocusonsustainabilityandsocial responsibility.websiteslikerenourishandlovelyasatreearedesignedtohelp graphicdesignerspracticesustainabilitybyprovidingresourcesandinformation abouthowtoworksustainablyandevenhowtheycangreentheirownstudio.the LivingPrinciplesforDesignwebsiteissponsoredbyAIGAandwasintroducedat theirconferenceinmemphisin2009.it saresourceforsustainabilitytheoriesand practices.thegoalofthissiteistolookatsustainabilityholistically environmental protection,socialresponsibility,equity,andeconomichealth andmakeit accessible,relevant,andactionable. 75 IDEO(aninnovationanddesignfirmthatuses ahuman centereddesign basedapproach)isanotherresourcethatgraphic designerscanlooktoforadvisementaboutissuesconcerningsocialresponsibility. TheHumanCenteredDesignToolkit isafreeguidethatwascreatedbyideofor NGOs(non governmentorganizations)andsocialenterprisesthatworkwith impoverishedcommunitiesaroundtheworld.thetoolkitwasdesignedtohelp organizationsfindsolutionsthatareinnovativeandmeetthesecommunities needs withfinancialsustainabilityinmind. 76 Thesedaystheproblemisnotnecessarilyalackofinformation:it smaking suretheinformationisreceived.despitethefactthatthisinformationisreadily availableonline andforfree whengraphicdesignstudentswereaskedhow importanttheythinksustainabledesignis,almosthalfanswerednotimportantat 29

28 all,somewhatimportant,orthattheydon tknowwhatsustainabledesignis. 77 Even morealarmingisthatmorethanhalfofthestudentssurveyeddidnotknowwhat greenwashingmeansandlessthanaquarterofthemdidnotfeeldesignershavea responsibilitytoeducatetheirclientsaboutgreenwashingiftheyfeelit sanissue withaprojecttheyareinvolvedin. 78 Anotherquestionthatneedstobeaskedwhenlookingattheethicsof graphicdesignthroughthelensofmoralityis theright behaviorforagraphic designerwhendealingwithclients.somefeelstronglythatit sagraphicdesigner s jobtocommunicatetheclient smessagetothetargetaudienceratherthanpresenta personalagenda.forgraphicdesignersworkingonprojectsthatinvolvepoliticsand religionoftennecessitaterepresentingaclientwithanopposingpointofviewfrom theirown.somewouldarguethatprofessionalismcallsforgraphicdesignersto representtheirclientsregardlessoftheproductorservices.thetopicbecomeseven morecomplicatedwhenlookingattheconsequencesinvolvedwhenturningwork downifthedesignerdoesn tnecessarilysupporttheclientandtheclient sproduct orservices.wheredoesonedrawthelineaboutwhetherornotitsgraphic designers moralresponsibilitytokeeptheiremployeesandworkonsomething theydon tnecessarilyagreewithortoletthemgo,adverselyaffectingtheirlivesas welltheirfamilies?shouldtheyrefusetoworkfortheclientortakethejobforthe sakeoftheiremployees?coca ColaCompanyislocalin206countries,morethanthe UnitedNations(Fig.8).Theyhave700,000employees,50millionretailers,and50 millioncustomersallovertheworld. 79 CriticsofCoca Colacondemnthecompany 30

29 forencouragingaconsumerculturethatisunhealthyandeconomicallydrainingon individuals.indogood:howdesignerscanchangetheworld,authordavidberman talksabouthowcokehasbrandedthenationoftanzania.inthe1990stheytook careofalloftheirroadsignageandincludedthecokebrandoneverysign.insome partsofafrica,cokeisconsideredmedicinalandthepriceofabottleofcokeisthe sameasananti malarialpill.whilecokeisthebestsellingdrinkonthecontinent,a millionafricansdieeachyearofmalaria. 80 Butimaginetheeconomicimpactand subsequentrepercussionsonthelivesofthoseemployedbythecompanyifcoke suddenlydisappeared.whenlookingatissuesofmoralresponsibility,it srarely blackandwhite.theconsequencesofallactionsneedtobeconsidered. Conclusion Studentsdoknowthatgraphicdesignersplayanimportantroleindelivering visualcommunication.whensurveyed,over75percentofstudentssaidthatthey thinkgraphicdesignershavealargeofimpactonconsumers buyingdecisions. 81 Theyknowthattheirroleisanimportantoneininfluencingbehavior,buttheydon t appeartoknownearlyasmuchabouttherulesofconductforgraphicdesigners. InherarticleforCommunicationArts, WhereOurWildThingsAre Part1, DKHollanddiscussesthe1990sPBSroundtableseries EthicsinAmerica andhow televisionjournalistfredfriendlywouldopeneachepisodebysaying Ourpurpose isnottomakeupyourmindforyou,buttomaketheagonyofdecision makingso intense,youcanonlyescapebythinking. 82 Wedon tnecessarilywanttocauseour 31

30 designstudentsagony,butwedowanttomakethemthink.arequiredcoursein ethicsingraphicdesignwouldprovidestudentswithadedicatedforumtoexplore anddiscussthefullspectrumofissues,learntherulesofconductintheirprofession, andhelpthemdeterminewhattheirownbehaviorshouldbe. 32

31 RECOMMENDEDCURRICULUM CourseTitle:EthicsinGraphicDesign CourseLevel:Junior/SeniorLevel Pre requisites:historyofgraphicdesign,graphicdesigni&ii CourseDescription:Thiscourseexplorestopicsconcerningtheethicsofgraphic design.twoareaswillguideourinquiry:whataretherulesofconductthatguide graphicdesignersintheirpractice?whatdoes rightconduct mean practically, morally,andphilosophically? CourseObjectives: Studentstakingthiscoursewill: 1. Learnabouttheethicalissuesfacinggraphicdesigners 2. Learntoidentifyandrecognizeethicalissues 3. Articulate,communicate,andpresentwell informedideasabouttheseissues 4. Arriveatawell informedandintellectuallycomplexunderstandingofthese issues 5. Researchtopicsandofferwell informedresponsesverballyandinwrittenform CourseOutcomes:Todemonstratemasteryofcoursegoals,studentswill: 1. Completequizzes 2. Respondtocoursetopicsthroughthoughtfulwrittenanalysis 3. Articulateresponsesverballyinclassdiscussions 4. Workcollaborativelyingroupstoresearchandpresentonanassignedtopic 33

32 5. Craftaresearchpaperonatopicofchoice KeyTopics: Definingethicsingraphicdesign Copyright FairUse Fonts SoftwarePiracy Plagiarism ImageManipulation WorkonSpeculation Crowdsourcing Cronyism/Kickbacks ResponsibilitytoClient Professionalism/Certification Sustainability CradletoCradle Greenwashing SocialResponsibility MassConsumerism Branding/BrandStretching CulturalInfluence 34

33 NOTES 1. ThankYouforSmoking, IMBD, 2. LucienneRoberts,Good:EthicsofGraphicDesign(Lausanne,Switzerland: AVAPublishingSA,2006), ScottThomasBoylston,TeachingTowardanEthicalLegacyinGraphic Design(Melbourne,Australia:CommonGroundPublishing,2007) PhilipMeggs,HistoryofGraphicDesign(Hoboken,NJ:JohnWiley&Sons, 2006),ix. 5. StevenHeller,AppendixA, MeredithDavis,AppendixA, DKHolland, WhereOurWildThingsAre Part1:Graphicdesignethicsin anageofexacerbation, CommunicationArts(March/April2010) Ibid. 9. Ibid. 10. MarkJohnson,MoralImagination:ImplicationsofCognitiveSciencefor Ethics(Chicago,IL:TheUniversityofChicagoPress,1993), Ibid. 35

34 12. Dictionary.com,s.v. ethics, Dictionary.com, TedTalks, LarryLessigonlawsthatkillcreativity, TedTalks, Ibid. 15. LisePrown,AppendixA, Ibid. 17. EllenLupton,AppendixA, Ibid. 19. Ibid. 20. About.com, WhatisCrowdsourcing? About.com, March10,2010). 21. DavidC.Baker, CommunicationArts:EmbracingMarginalization, CommunicationArts, 22. Ibid. 36

35 23. AIGA, AIGAPositiononSpecWork, AIGA, specwork?searchtext=spec%20working#spec risks(accessedapril18,2010). 24. Ibid. 25. Chart6,AppendixC, Ibid. 27. StevenGrey, CanCorporateFundingSaveEndangeredCollegeClasses? Time, (accessedjune23,2010). 28. Ibid. 29. Ibid. 30. RobynWaxman,AppendixA, Ibid. 32. GreggBernstein,AppendixA, DKHolland,AppendixA, EllenLupton,AppendixA, StevenHeller,AppendixA,72. 37

36 36. GraphicDesignCertification, 23,2010). 37. DavidB.Berman,DoGoodDesign:HowDesignersCanChangetheWorld (Berkely:CA:NewRiders,2009), RichardFarson,ThePowerofDesign:AForceforTransforming(Norcross, GA:GreenwayCommunications,LLC,2008), Ibid. 40. Ibid. 41. Ibid. 42. Chart9,AppendixC, EricBaker,AppendixA, DMIPublications, Viewpoints. DMIPublications, (accessedaugust3,2010). 45. Frontline, TheAlanGreenspanEra, PBS, (accessedmay2010). 46. Ibid. 38

37 47. Ibid. 48. Ibid. 49. EllenDissanayake,WhatisArtFor?(Seattle:WA:UniversityofWashington Press,1988), Ibid., MiltonGlaser, BigThink:InterviewwithMiltonGlaser, BigThink, think interview with milton glaser (accessedmarch23,2010). 52. Dictionary.com,s.v. good, Dictionary.com, Roberts, Ibid. 55. Johnson, Roberts, Ibid., Ibid. 59. Ibid. 60. Ibid. 39

38 61. DesignforGlobalChange, 24,2010). 62. Roberts, ChristopherBenfey, IronFists:theinsidioussideofbrandloyalty, New YorkTimes, IDLEDE html?_r=1(accessedJuly2010). 64. Ibid. 65. Ibid. 66. LouisTomaino,AppendixA, Ibid. 68. Ibid., Ibid. 70. RobynWaxman,AppendixA, BrianDougherty, GreenGraphicDesign, GreenGraphicDesign, BusinessEthics, Greenwashing, BusinessEthics, 40

39 73. WilliamMcDonoughandMichaelBraungart, CradletoCradle:Remaking thewaywemakethings, McDonough, Ibid. 75. AIGA:TheLivingPrinciplesforDesign, (accessedapril19,2010). 76. IDEO, TheHumanCenteredDesignToolkit, IDEO, centered design toolkit/(accessedapril 29,2010). 77. Chart4,AppendixC, Chart5,AppendixC, DavidButler, RedesigningDesign, PresentationforMake/Think:AIGA DesignConference,October8 11,2009, butler(accessedmarch5,2010). 80. Berman, Chart5,AppendixC, Holland, Part1,

40 Images Fig.1.Pagefromanarsmoriendi,1466.(Meggs,HistoryofGraphicDesign,67). 42

41 Fig.2.ArtworkbyElLissitzky,c.1930 ( 43

42 Fig.3.ShepardFairey, Hope, 24x36screenprint,2008 ( 44

43 Fig.4.InternationalBusinessMachines(IBM),8 barvariation,1972 ( rand.com/index.php/site/identity/). 45

44 Fig.5.Designteam,children,andvillagersinfrontofmuralfor WaterforIndia campaign.photocourtesyofprofessornatachapoggio. 46

45 Fig.6.Nazipropagandaposter, ( sources of evilpart iii/). 47

46 Fig.7.TheLifeCycleConcept,( 48

47 Fig.8.Coca colaadvertisinginafrica,( aidvia coke facebook.html). 49

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49 Airasian,PeterW.,LorinW.Anderson,KathleenA.Cruikshank,DavidR.Krathwohl, RichardE.Mayer,PaulR.Pintrich,andMerlinC.Wittrock.ATaxonomyfor Learning,Teaching,andAssessing:ARevisionofBloom'sTaxonomyof EducationalObjectives,abridgeded.Boston:Allyn&Bacon,2000. Art:21. FlashPoints:TheEthicsofArt. Art:21Blog, points the ethics of art/(accessed March2010). Baker,DavidC. CommunicationArts:EmbracingMarginalization, Communication Arts, marginalization.html (accessedapril17,2010). Benfey,Christopher. IronFists:theinsidioussideofbrandloyalty, NewYork Times, IDLEDE html?_r=1(accessedJuly2010). Berman,DavidB.DoGoodDesign:HowDesignersCanChangeTheWorld.Berkeley, CA:NewRiders,2009. Bestley,Russell,andIanNoble.VisualResearch.NY:Watson GuptillPublications, Bierut,Michael,WilliamDrenttel,StevenHeller,andDKHolland.LookingCloser: CriticalWritingsonGraphicDesign.NY:AllworthPress,

50 Boylston,ScottThomas.TeachingTowardanEthicalLegacyinGraphicDesign. Melbourne,Australia:CommonGroundPublishing,2007. Braungart,Michael,andWilliamMcDonaugh.CradletoCradle.NY:NorthPoint Press,2002. BusinessEthics. Greenwashing. BusinessEthics, Butler,David. RedesigningDesign, PresentationforMake/Think:AIGADesign Conference,October8 11,2009.AIGA, makethink 2009 butler(accessed March5,2010). Clannco. ArtandLaw. Clancco, Coleman,Elizabeth. DesignandtheLiberalArtsEducation. AIGA, makethink 2009 coleman(accessed March2010). Cory,Jacques.ActivistBusinessEthics.NewYork:KluwerAcademicPublishers, CreativeLatitude, 2010). DesignersAccord, 52

51 Dissanayake,Ellen.WhatisArtFor?Seattle,WA:UniversityofWashingtonPress, DMIPublications. Viewpoints. DMIPublications, (accessedaugust3,2010). EthicsResourceCenter, Farson,Richard.Notesfrompresentation EmbracingtheParadoxesof Sustainability. LeadershipSummitonSustainableDesign,SanFrancisco,CA. November2005. ThePowerofDesign:AForceforTransformingEverything.Norcross,GA:Greenway Communications,2008. Frontline:TheAlanGreenspanEra. PBS, (accessedmay2010). Glaser,Milton.4ShortTalks(MoreorLessontheSubjectofDesign).NY:VisualArts Press,2008. BigThink:InterviewwithMiltonGlaser. BigThink, think interview with milton glaser (accessedmarch23,2010). 53

52 GraphicDesignCertification, 2010). Grey,Steven. CanCorporateFundingSaveEndangeredCollegeClasses? Time, (accessedjune23,2010). Gross,Larry,JohnStuartKatz,andJayRuby,eds.ImageEthicsintheDigitalAge. Minneapolis,MN:UniversityofMinnesotaPress,2003. Heller,Steven,andLitaTalarico.DesignSchoolConfidential.Beverly,MA:Rockport Publishers,2009. Heller,Steven,andVeroniqueVienne.CitizenDesigner.NY:AllworthPress,2007. Holland,DK. WhereOurWildThingsAre Part1:Graphicdesignethicsinanageof exacerbation. CommunicationArts(March/April2010).. WhereOurWildThingsAre Part2:Graphicdesignethicsinanageof exacerbation. CommunicationArts(May/June2010). Johnson,Mark.MoralImagination:ImplicationsofCognitiveScienceforEthics. Chicago:TheUniversityofChicagoPress,1993. IDEO. TheHumanCenteredDesignToolkit. IDEO. centered design toolkit/(accessed February2010). 54