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can a designer
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a guide
for graphic designers
and those who work with them

written and designed

by anya farquhar
for whoknew.org
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1.0

Intro
duction
timeline
What is graphic design?
What is good?
What is bad?

2.0

pur
pose
The need for social design
The growth of social design
False Advertising
Economic Feasibility
Personal Voice

3.0

Act
ion
Mentors
First Steps

4.0

Appen
dix
Resources
endnotes
Colophon
 G 

Time 1.0 An introduction to the topic by grounding it in a number

of social movements and historical events, some well-

liNE known, vital to the change of design’s role in society.

1860s 1880s 1917 1920s

iconography campaigns arts & crafts movement: constructivism: photomontage is used as

for women’s rights simplicity, good craftsman- bold type and elementary political weapon
ship, good design shape for new radicalism

1936 1936–1940 1940s 1957

international system the Spanish Civil War political graphics for the War Vance Packard writes
of typographic picture creates images and films Office to persuade, inform a scathing critique of
education (isotopes) to fight Fascism and educate advertising’s exploitation

1958 1960s 1961 1964

Gerald Holtom designs underground magazines re- Amnesty International uses Transport Alphabet is
the peace symbol flect the antiestablishment, graphics, ads, and direct-mail designed for legible road
idealist counter culture shock tactic campaigns signage in UK

1964 1966 1968 1968

Ken Garland’s first things The Black Panther Party for NOW (National Organization French students march the
first manifesto challenges Self-Defense created pow- for Women) becomes the first streets with handmade
designer practice erful, aggressive graphics to call for legal abortion posters
 G 

1970s 1970 1971 1976

A decade of agitprop Sheila Levrant de Bretteville Victor Papanek publishes De- First UK punk fanzine for
(agistational propoganda) founds the Feminist Studio sign for the Real World calling The Ramones, called Snif-
Workshop for social responsibie design fin’ Glue

1977 1979 1980s 1985

Beginning of a do-it- Photomontages for CND Barbara Kruger uses photog- Guerrilla Girls exposes
yourself aesthetic in UK raise awareness against raphy with text to address sexism and racism in
culture nuclear weapons in UK feminism, consumerism, etc. politics and culture

1987 1990 1991 1993

ACT UP (AIDS Coalition James Victore begins Tibor Kalman works for Adbusters, a Canadian
to Unleash Power) producing his subversive Colors, a magazine with magazine promoting
provokes posters controversial imagery culture jamming

2000 2000 2004 2000s

Luba Lukova illustrates a The 1964 First Things First They Rule website reveals A growing number confer-
poster for awareness of manifesto is re-drafted and relationships of the US ences/discussions entailing
Sudanese poverty. signed. Ruling Class ethics in design
 G 

Intro
duction
1.1

In my lifetime I have seen enough…

poorly designed forms
bad signage
poor advertising
ugly packaging
blasphemous typography
boring PSAs
corny commercials
predictable tree-hugging ads

Good things are poorly designed, and we’re

all tired of looking at them.
But thousands of new graphic designers emerge into the indus-
try every year, equipped with skills in typography, logo design,
and advertising. I think we have all begun to question... why are all
these good things still looking so awful? What can we do about
it? And how can we make a larger difference in society?

visual communication
imagery and text
typography
organization of information
aesthetics
ethics
social responsibility
1.2 What is graphic design?
The term was first introduced in 1922 when W.A.
Dwiggins, the American typographer, book design-
er, and layout artist, defined a graphic designer as
a “communicator, constructing messages using im-
agery and text while he/she adopts the additional
roles of image-maker, typographer, production
coordinator and editor.”  In essence, design has al-
ways been a tool to communicate; an organization
of information; making a message accessible, leg-
ible and clear. While the details can be much disput-
ed, I think the goal of graphic design is, at the core,
image-making with message-delivering – whether
abstract or direct.
Graphic design is also defined by Steven Heller,
designer and author, as “the activity that organizes
visual communication in society. It is concerned
with the efficiency of communication, the technol-
ogy used for its implementation…” and concludes
with the much ignored, “…and the social impact it
effects–in other words, its social responsibility.”
 Design Encyclopedia. http://www.thedesignency-
clopedia.org/graphic_designer
 Design Encyclopedia. http://www.thedesignency-
clopedia.org/graphic_designer
G 
1.3 What is good?
Historically, good design has referred to aesthetics
and beauty, rather than ethics and responsibility.
In our current information age, designers have be-
come the sifters of information and the role of good
design has changed from aesthetics to ethics. Kalle
Lasn of Adbusters describes, “Designers are to our
information age, what engineers were to the age of
steam, what scientists were to the age of reason...”
Designers’ role has become more pertinent; a re-
sponsibility to organize our contemporary age.
Design plus responsibility usually leads to archi-
tecture, sustainability, and product design. These
fields have a responsibility to society – graphic
design should not be disregarded. While a graphic
designer is not responsible for human safety in a
building or efficiency of a tool, graphic designers’
influence on their audience is often overlooked.
 Design Encyclopedia. http://www.thedesignency-
clopedia.org/graphic_designer

tacky looking messages about saving the environment
can do more harm than good by reinforcing the
‘tree-hugging’, hippie stereotype
1.3 continued
In the last few years, graphic design responsibil-
ity has been linked with sustainability (or “green
design”). As designers, we are responsible for an
immense sum of paper-use. Designers can in-
form clients and printers about new technologies
that improve the quality of recycled paper stocks,
including coated stocks and even soy-based inks.
However, the step is small in comparison with
graphic designers’ potential to create a fundamen-
tal change in society.
Good design is broadly defined using concepts
from sustainability issues to community needs. Ste-
ven Heller defines the role of good design as “so-
cial responsibility”; to be aware of the impact visual
communication has on the community’s people, vi-
sual environment and safety. These goals are lofty
and still vague for the graphic designer who is used
to solving problems through branding, advertising,
book design, web design, exhibition design, etc. On
the other hand, Serious Design, as represented by
a blog started by a group of students, defines good
design as a non-commercial purpose that “goes
beyond selling products; awareness about a sub-
ject for instance.” While I agree that every design
piece requires bringing awareness to a subject,
taking design seriously can have the wrong conno-
tation. What this leads to is the responsibility of the
designer to have a personal voice (see 2.6).
 Design Encyclopedia. http://www.thedesignency-
clopedia.org/graphic_designer
G 
1.4 What is bad?
We have grown accustomed to the inconvenient
normalcy of bad design. It makes the world a more
difficult place to live in, from voting ballots to over-
produced packaging.  An effort to solve these
design problems does not always result in good
design. Revolutionary idealism doesn’t guarantee
better work; neither does adherence to accepted
rules” – but discontent with these issues does
spawn motivation for change.
The most important step in good design – as in all
design – is communication. “Tacky looking mes-
sages about saving the environment can do more
harm than good by reinforcing the ‘tree-hugging’,
hippie stereotype and by confirming preconcep-
tions instead of challenging them.”  This trend of
bad design and growing misconceptions about
good design has caused designers to become
alienated. “There’s a general air of disinterest from
every designer–including myself to be honest.
While we may believe in aesthetics and the impor-
tance of it... not much else motivates the average
designer today.” Renee Cuitkovic posted on his
blog.This alienation causes a disconnect from the
possibility of good design.
 Design Encyclopedia. http://www.thedesignency-
clopedia.org/graphic_designer
 Design Encyclopedia. http://www.thedesignency-
clopedia.org/graphic_designer
 Design Encyclopedia. http://www.thedesignency-
clopedia.org/graphic_designer
 Design Encyclopedia. http://www.thedesignency-
clopedia.org/graphic_designer

pur
pose
2.1
In between idealists and skeptics, I believe there are realists. With
most changes in society, progress is slow. The idealists fuel the
change and the skeptics find the weak points and make it stronger.
After enough years of looking at bad design, I started looking, read-
ing and discovering that, like attempting to navigate with poor sig-
nage, many of us are misguided to the purpose and possibilities of
good design. The designer’s role relates to fundamental change in
our society.
“Design is not the end goal. Design is simply a tool to help us connect
to our communities and make a difference.”  Bennett Peji, former
president of the San Diego chapter of AIGA reminds us the role and
definition of graphic design. This connection to the community harks
back to the definition of social design. The community lies outside
our personal wants or needs. Philosopher Edward De Bono explains
four ways of focusing thinking regarding our values;
Me: ego and pleasure
Mates: belonging to a group, not letting it down
Moral: religious values, general law, general
values of a particular culture
Mankind: human rights, ecology
The role of social design emphasizes values for mankind. Design-
ers understand their audience and discover the best way to connect
through visual language, but good design reaches an audience with al-
truistic goals. Architect Samina Quraeshi says, “Rather than, ‘How can
we increase awareness about design in the world?’ –shouldn’t we be
pondering– ‘How can we increase our awareness about the world?”10
 Design Encyclopedia. http://www.thedesignencyclopedia.org/graphic_
designer
10 Design Encyclopedia. http://www.thedesignencyclopedia.org/graphic_
designer
G 
mankind
moral
mates
me
In 1964, a group of designers attempted to solve the growing dissent
in graphic design. A manifesto took shape, signed by an abundance
of designers, calling for more ethical work. “The manifesto raised is-
sues about the social implications of design’s close relationship to the
corporate money. Nearly forty years later, these complex issues have
not subsided.”11
The manifesto has been revised and signed again in 2000, calling
a new generation of designers on the mission that hasn’t been re-
solved. Milton Glaser, one of the signatories of the manifesto, de-
scribes his political discontent and motivation for action, “Designer/
Citizen seems like a more satisfying description. There has been no
better time for all of us to assume this role.”12 Another graphic design
legend, Neville Brody, feels the motivation to action, “Graphic Design
originated in public service. It’s time to give something back.”13The
urgency of the matter is reflected in multiple voices, including artist
Julie Whitley, “We can get into people’s bloodstreams, or we can get
into their faces. But what we can’t do is nothing.”14
11 Design Encyclopedia. http://www.thedesignencyclopedia.org/graphic_
designer
12 Design Encyclopedia. http://www.thedesignencyclopedia.org/graphic_
designer
13 Design Encyclopedia. http://www.thedesignencyclopedia.org/graphic_
designer
14 Design Encyclopedia. http://www.thedesignencyclopedia.org/graphic_
designer
 G 10

First We, the undersigned, are graphic designers, pho-

tographers and students who have been brought
Things up in a world in which the techniques and ap-
paratus of advertising have persistently been
First presented to us as the most lucrative, effec-
tive and desirable means of using our talents.
2000 We have been bombarded with publications devoted
to this belief, applauding the work of those
a manifesto who have flogged their skill and imagination to
sell such things as: cat food, stomach powders,
detergent, hair restorer, striped toothpaste,
aftershave lotion, beforeshave lotion, slimming
diets, fattening diets, deodorants, fizzy water,
cigarettes, roll-ons, pull-ons and slip-ons.

By far the greatest effort of those working in the

advertising industry are wasted on these trivial
purposes, which contribute little or nothing to
our national prosperity.

In common with an increasing numer of the general

public, we have reached a saturation point at
which the high pitched scream of consumer selling
is no more than sheer noise. We think that there
signed:
are other things more worth using our skill and
Edward Wright
experience on. There are signs for streets and
Geoffrey White
buildings, books and periodicals, catalogues,
William Slack
instructional manuals, industrial photography,
Caroline Rawlence
educational aids, films, television features,
Ian McLaren
scientific and industrial publications and all
Sam Lambert
the other media through which we promote our
Ivor Kamlish
trade, our education, our culture and our greater
Gerald Jones
awareness of the world.
Bernard Higton
Brian Grimbly
John Garner
We do not advocate the abolition of high pressure
Ken Garland
consumer advertising: this is not feasible. Nor
Anthony Froshaug
do we want to take any of the fun out of life. But
Robin Fior
we are proposing a reversal of priorities in fa-
Germano Facetti vour of the more useful and more lasting forms of
Ivan Dodd communication. We hope that our society will tire
Harriet Crowder of gimmick merchants, status salesmen and hidden
Anthony Clift persuaders, and that the prior call on our skills
Gerry Cinamon will be for worthwhile purposes. With this in
Robert Chapman mind we propose to share our experience and opin-
Ray Carpenter ions, and to make them available to colleagues,
Ken Briggs students and others who may be interested.
 G 11

Designer/Citizen seems like a more

satisfying description. There has
been no better time for all of us to
assume this role.
milton glaser

* The United States 2007 military spending is $563 billion,

nearly doubled since this project.
 G 12

2.2 The need

Good design involves the community, communi-

cates effectively, and incorporates responsibili-
ties. “Design itself cannot feed or shelter people, it
cannot provide a cure for AIDS, but it can educate
instead of dictate, it can encourage free thought, it
can be a call to other people’s aid, it can undermine
official disinformation, it can raise an awareness.”
Tibor Kalman, a historical figure in design dissent,,
not only spoke about these issues, but reflected it
in his design.Graphic design has been associated
with the capitalistic ventures, often exploiting “the
environment and society for commercial gain.”15
Too often designers are using their refined skills,
“making filthy oil companies look ‘clean’, making
car brochures higher quality than the car, making
the spaghetti sauce look like it’s been made by
grandma...”16 Although our corporate world is here
to stay, it is reasonably important to remain skepti-
cal of supporting brands “Brands don’t feed people, Designer’s Road to Hell
they feed off them.”17 (a summation of)

Milton Glaser speaks to this same trend regarding 1 bloated packaging

the ethics of a graphic designer in his “Twelve Steps
on the Graphic Designer’s Road to Hell.”18 These 2 false advertising
items address the role of a designer, designers’
ethics, and a call for change. Many of us agree with 3 logo that lies
Brody, “As a graphic designer, I have been experi-
encing growing unease about what I do.” This un- 4 it’s personally repellent
ease is the catalyst for positive change.
5 WTC souvenir

15 Design Encyclopedia. http://www.thedesignency-

6 discrimination
clopedia.org/graphic_designer

16 Design Encyclopedia. http://www.thedesignency- 7 lack of nutrition

clopedia.org/graphic_designer

17 Design Encyclopedia. http://www.thedesignency- 8 support of child labor

clopedia.org/graphic_designer

18 Design Encyclopedia. http://www.thedesignency-

9 false diet products
clopedia.org/graphic_designer

10 harmful policies

11 dangerous SUVs

12 products that kill

milton glaser

2.3 The growth
Change has been growing. Consumers
are choosing products and services that
promote non-commercial causes, which
has also led to changes in commercial
industry. Some corporations have adopted
this new Cause-Related Marketing to
serve the desire of the consumer and
the needs of society. Designers are no
longer responding to the consumers
needs, but instead, guiding consumers
to healthier and better choices. “What if
humans designed products and systems
that celebrate an abundance of human
creativity, culture, and productivity? That
are so intelligent and sage, our species
leaves and ecological footprint to delight
in, not lament?”19
19 Design Encyclopedia. http://www.
thedesignencyclopedia.org/graphic_designer
2.4 False advertising
A growing number of feel-good awards and
self-congratulatory conferences for design
implement positive change, but don’t al-
ways measure actual positive change in the
field. The questions are what is good and
how to measure good. The answers can be
subjective, but designers should be aware
of this problem and access resources that
can help make personal choices. Important
questions to ask might include:
Where is the money going?
How much of the money is spent
on advertising/office, and how
much for the actual benefit?
How long has this organization
been in service? Is there
positive follow-up?
What is the lifecycle of the
product?
Is this for a local community? If
not, is it best servicing the
needs of the community?
This last issue, important in the world of
activism and doing social good, is avoid-
ing “Do-gooding from afar,” as design leg-
end, Milton Glaser says. 20 In other words,
designers should make sure that design
actually benefits people, instead of just
appearing to do good, while boosting the
designer’s ego. Good can be done in an
informed way, by being aware of your local
community’s needs through personal expe-
rience or thorough research.
20 Brenda Laurel, “Value, Voice and Culture
Work in These Weird Times.” Voice: AIGA 2002
G 13
2.5 Economic feasibility
“Too bad it takes a profit motive to make
use behave better.”21 Good design is of-
ten misperceived as pro-bono or cheap
work. The middle ground between the
smart client and the insightful designer is
a place where profit for the client is cre-
ated by an idea which serves the public.
As determined earlier in Cause-Related
Marketing, companies, organizations,
and individuals have a plethora of op-
portunities to use design to work for the
public good and create a profit. The best
part about this for the designer is that tak-
ing action is just another creative design
challenge. The role of the designer is to
“invent their own grand strategy, as long
as it serves the strategic goal of the cli-
ent. One strategy can support two grand
strategies. . . Design gives voice to values.
We know the rules of good design. But
brilliant design not only permits, but re-
quires the designer’s personal voice.”22
21 Design Encyclopedia. http://www.
thedesignencyclopedia.org/graphic_designer
22 Design Encyclopedia. http://www.
thedesignencyclopedia.org/graphic_designer
 G 14

2.6 Personal voice

Good design can be liberating. The designer and the client become more connect-
ed... a goal that designer and client are trying to achieve constantly. Authorship
“allows graphic designers to have a larger, and more accepted, role in popular and
commercial culture.”23 Not only does authorship allow the designer to be accepted
by a wider audience, but the personal perspective also “brings the designer into de-
sign–the human being into the problem.”24 A personal voice benefits society and
educates the client, their audience, and the designers themselves.

This type of design work “must be approached carefully but with great conviction
and effort. The tactic of culture work is not straight-ahead revolution; rather it is to
inject new genetic material into the culture without activating its immune system.”
This is the role of good design: to inspire a change without triggering a negative re-
sponse, without following the tradition of bad design. “By intervening in the present,
we are designing the future.”25 We are all aspiring to create a future without infor-
mation overload, and with clearer and smarter choices for the roles and responsi-
bilities of a designer. This personal voice, good design, and culture work excite the
will to action.26

“[The world] would be a much better place 

–i
 f we used
our expertise, preferably in tandem with others…
Don’t be held hostage by indecision, or engage in
endless foreplay: get going. Figure it out.”
stanley tigerman 33

23 Design Encyclopedia. http://www.thedesignencyclopedia.org/graphic_designer

24 Design Encyclopedia. http://www.thedesignencyclopedia.org/graphic_designer

25 Design Encyclopedia. http://www.thedesignencyclopedia.org/graphic_designer

26 Design Encyclopedia. http://www.thedesignencyclopedia.org/graphic_designer

 G 15

awareness

equality goals

community

social
need

finances
communication constraints

time
creative
freedom

design

audience

goals
voice

clarity
 G 16

Act
ion

3.1 Mentors

Many designers (and non-designers) are taking action for conscious

ethical changes in response to their own drive to make a difference. Graphic designers are intimately engaged in the
Bennett Peji, previous president of the San Diego AIGA and later construction of language, both visual and ver-
serving on the national board, stepped down to lead another mission. bal. And while our work often dissects, rearrang-
“He put together a massive proposal for the city council based on es, rethinks, questions and plays with language,
the idea that a branding firm was the ideal lead for the redevelop- it is our fundamental belief, and a central ten-
ment of the community.” as noted by Todd Zerger on his blog. In this ant of “good” design, that words and images must
case, a mile-long stretch of a Filipino neighborhood to encourage a be used responsibility, especially when the mat-
thriving culture. He won the project and this success led to him be- ters articulated are of vital importance to the
ing appointed as commissioner of arts and culture for the city of San life of a nation.
Diego.27 Peji followed his own goals about making change happen in
his community. We understand that politics often involves high
rhetoric and the shading of language for politi-
Designers can make a difference in various ways. Just this summer, cal ends. However it is our belief that the cur-
a group of designers from 2x4 in New York were awarded the Coo- rent administration of George W. Bush has used
per-Hewitt National Design Award. That National Design Awards are the mass communication of words and images in
to honor the best in American design. “If design has an Oscar, the ways that have seriously harmed the political
National Design Award is it.” The Awards are a project of the White discourse in America. We therefore feel it would
House Millennium Council and traditionally the First Lady serves as be inconsistent with those values previously
the honorary chair and hosts a breakfast at the White House. This stated to accept an award celebrating language
year, the graphic design winners declined the invitation and wrote an and communication, from a representative of an
explanation to Laura Bush: administration that has engaged in a prolonged
assault on meaning.28
27 Design Encyclopedia. http://www.thedesignencyclopedia.org/graphic_
designer
The letter continues to explain that these designers realize it is an
insignificant gesture, but an important personal statement. These de-
signers chose to make a stand about the cause for good design.

Whether it’s a project to benefit your community or a statement re-

garding political issues, designers mentors everywhere are taking a
stand. The tool in our hands is a powerful one, like the letter for the
First Lady – not only is good design important for a nation, but it is also
important to our community and to the definition of design as a whole.
What would happen differently if designers were the leaders? 29

28 Design Encyclopedia. http://www.thedesignencyclopedia.org/graphic_

designer

29 Design Encyclopedia. http://www.thedesignencyclopedia.org/graphic_

designer

3.2 First steps
El Lissitzky wrote, “To those who wish to respond
to the new art, we say that it is not enough to stare
at it with one’s eyes, one’s whole head must be
turned in a different direction.”30 To take action,
we must full-heartedly enter the world, not just
give a face-lift to our existing design practice.
I recommend starting slowly. Determine your
personal ethics. What do you care about? Who
do you admire? What do you/they value? How do
you want to make a difference? Find people with
similar interests, whether they are designers,
activists, entrepreneurs, or business owners. You
can find these types of people by researching
organizations you admire and contact them to
see if they need a designer. Also, there are many
listings online, for paid and pro-bono work. If you
work for a design firm, communicate your interest
to take on special projects. Most design firms are
large enough, that they can allot time for lower
paid jobs, while individual designers might have
“Forget the manifestos, forget the theories.
Just use your common sense, do a good job,
and aim for the stars.”
G 17
more difficulty doing this. When working with
clients, be active about bringing in special topics
that could boost their goals as well as yours. In
the end, every commercial pursuit can also do
public good. Involve specialists in the field, if you
can, get a non-designer’s perspective of what
would service this particular population well. And
most of all, only work with people who show the
same passion about your project. 31
“Just make something and put it out there,
and pretty soon people start to see it...” John
Emerson, a designer working on social issues,
also motivates to self-initiate projects. Whether
it’s a website, xerox, or silkscreen, “there’s a
certain satisfaction in just doing it yourself.” These
projects inspire new clients or collaborators. “If
you have an idea, just execute it. Once you do
one project, people start to see it and word of
mouth starts to spread.”32
john berry
 G 18

Appen
dix
4.0 Resources

blogs

Social Design Notes

www.backspace.com/notes
Design for Social Need
designforsocialneed.wordpress.com
World Changing
www.worldchanging.com

initiatives

Designism, 2006
www.adcglobal.org/events/designism.html
First Things First Manifesto, 2000/1964
www.xs4all.nl/~maxb/ftf1964.htm
Art Center College of Design, Designmatters
artcenter.edu/designmatters
Sappi’s Ideas That Matter
www.sappi.com/SappiWeb/Initiatives/Sappi+Ideas+that+Matter

 
design firms/designers 
Work Worth Doing
www.workworthdoing.com
Tibor Kalman’s UnDesign
www.undesign.org
Public Interest
http://www.publicinterest.tv/html/pi.html
Bruce Mau’s Massive Change
www.massivechange.com

reserach

Links for Social Change

www.arts.arizona.edu/change
 G 19

4.1 Endnotes

1 Bennett, Audrey (Ed.). (2006). Design Studies: Theory and Research in Graphic De-
sign. New York, NY: Princeton Architectural Press, 28.
2 ibid.

3 Sagmeister, Stefan. How Good Is Good?

http://www.typotheque.com/articles/how_good_is_good.html
4 Berry, John. Does Graphic Design Need Nudging?
http://www.creativepro.com/story/feature/21462.html?origin=story
5 Whitley, Julie. Does graphic design make the world a better place?
http://www.bbbc.org/uk/html/responsibledesign.htm
6 Jockin, Thomas. Milieu Blog. Designism.
http://milieudiscourse.com/

7 Whitley, op. cit.

8 Duise, Leonie ten. Haase, Annelies. The world must change - graphic design and
idealism. http://maxbruinsma.nl/index1.html?ideal-e.html
9 Peji, Bennett. Voice Essays.

10 Quraeshi, Samina. The Architecture of Change: Sharing the Power of Design. 23

March 2002. http://voiceconference.aiga.org/transcripts/presentations/samina_
quraeshi.pdf
11 Rock, Joellyn. Employ. http://www.rockingchair.org/ve8.html

12 Glaser, Milton. Since Then. Boston, 2005. http://www.miltonglaser.com/pages/milton/

essays/es5_pop.html
13 Brody, Neville. Whitley, op. cit.

14 Hendra, Tony. Designism Conference. Podcast.

http://www.adcglobal.org/podcasts/designism.MP3

15 Whitley, op. cit.

16 Kalman, Tibor. (2000.) Perverse Optimist. New York, NY: Princeton Architectural Press.

17 Brody, op. cit.

18 Glaser, Milton. (Aug/Sep 2000.) Road to Hell. Metropolis Magazine.

http://www.metropolismag.com/html/content_0802/gla
19 Brody, Neville. Whitley, op. cit.

20 Whitley, op. cit.

21 Brauhgart, Michael. McDonough, Bill. “Cradle to Cradle”

 G 20

4.1 Endnotes continued

22 Leonard, Mark. Whitley, op. cit.

23 Sagmeister, Stefan. “How Good is Good”

24 Tigerman, Stanley. “Citizen Designer,” 141

25 Glaser, Milton. “Since Then”

26 McCoy, Katherine. “Emigre” No. 67

27 Whitley, op. cit.

28 Laurel, Brenda. Voice: AIGA 2002. “Value, Voice and Culture Work in These Weird Times.”

29 Heller, Steven. “Self and Others’ http://www.recirca.com

30 Schmidt, Michael. “Emigre” No. 67, 9.

31 “Graphic Agitation” 6-7.

32 Laurel, op. cit.

33 Laurel, Brenda. “Utopian Designer”

34 Victore, James. Designism lecture.

35 Lietchy, Christopher. comment on: http://www.underconsideration.com/mt-static/mt-com-

ments_su.cgi?entry_id=2737
36 Regrets Only, Design Observer
http://www.designobserver.com/archives/015742.html

37 Liechty op. cit.

38 On Overcoming Modernism

39 Todd Zerger, blogger at core77.com

40 Laurel, Brenda. “Activism for a New World”

41 Emerson, John. <http://www.socialdesignnotes.com>

Image Credit: Stefan Sagmeister’s campaign for Move Our Money

Timeline Credit: Cranmer, John and Zappaterra, Yolanda. “Conscientious Objectives”

 G 21

Colophon
4.2

about dogood

“Can A Designer Do Good?”

Anya Farquhar, Author and Designer
Created December 2006
For up-to-date information, please visit:
www.anyafarquhar.com/dogood

To contact the author, please email:

afarquhar@whoknew.org

about whoknew

Who Knew is a network of documents that visually interpret in-

formation, ideas and viewpoints considered complex, confusing
and/or controversial, which sometimes get misrepresented and
censored as a result; Things that make us go, “who knew?” Who
Knew is directed by Joshua Trees for the Graphic Design Depart-
ment at Art Center College of Design and is published triyearly in
April, August and December.
whoknew.org

thank you

To those who are a constant inspiration, helped in the painstak-

ing process of paper-writing, and continue to guide me towards
new inspiration:
My Family
Joshua Trees
John Emerson
John Brumfield
mika benedyk
& the tea at coffee gallery