First things First 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 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.
We propose a reversal of priorities in favor of more useful, lasting and democratic forms of communication - a mindshift away from product marketing and toward the exploration and production of a new kind of meaning. The scope of debate is shrinking; it must expand. Consumerism is running uncontested; it must be challenged by other perspectives expressed, in part, through the visual languages and resources of design.
In 1964, 22 visual communicators signed the original call for our skills to be put to worthwhile use. With the explosive growth of global commercial culture, their message has only grown more urgent. Today, we renew their manifesto in expectation that no more decades will pass before it is taken to heart.
Jonathan Barnbrook
Nick Bell
Andrew Blauvelt
Hans Bockting
Irma Boom
Sheila Levrant 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
My
view on the first things first Manifesto is that every creative in the design
world should know what they stand for. For example; someone may question our
belonging in the design industry and our response should be effective and
instant, as in stand up for you. This manifesto is considered to being of great
inspiration because the creative that designed this manifesto took a stand for
all designers and proved our belonging and need in society.
The
society takes designer’s work for granted. Design work is seen or assumed as
being easy. The major debate here is that not everyone is a designer just as
not all people are surgeons.
The
Incomplete Manifesto for Growth (Bruce Mau)
1. Allow events to change you.You have to be willing to grow.
Growth is different from something that happens to you.You produce
it.You live it.The prerequisites for growth: the openness to experience
events and the willingness to be changed by them.
2. Forget about good. Good is a known quantity. Good is what we
all agree on. Growth is not necessarily good. Growth is an exploration of
unlit recesses that may or may not yield to our research. As long as you
stick to good you’ll never have real growth.
3. Process is more important than outcome. When the
outcome drives the process we will only ever go to where we’ve
already been. If process drives outcome we may not know where we’re
going, but we will know we want to be there.
4. Love your experiments (as you would an ugly child).
Joy is the engine of growth. Exploit the liberty in casting your work as
beautiful experiments, iterations, attempts, trials, and errors.Take the long
view and allow yourself the fun of failure every day.
5. Go deep. The deeper you go the more likely you will discover
something of value.
6. Capture accidents. The wrong answer is the right answer in
search of a different question. Collect wrong answers as part of the
process. Ask different questions.
7. Study. A studio is a place of study. Use the necessity of production
as an excuse to study. Everyone will benefit.
8. Drift. Allow yourself to wander aimlessly. Explore adjacencies. Lack
judgment. Postpone criticism.
9. Begin anywhere. John Cage tells us that not knowing where to
begin is a common form of paralysis. His advice: begin anywhere.
10. Everyone is a leader. Growth happens. Whenever it does,
allow it to emerge. Learn to follow when it makes sense. Let anyone
lead.
11. Harvest ideas. Edit applications. Ideas need a dynamic, fluid,
generous environment to sustain life. Applications, on the other hand,
benefit from critical rigor. Produce a high ratio of ideas to applications.
12. Keep moving. The market and its operations have a tendency to
reinforce success.Resist it.Allow failure and migration to be part of your
practice.
13. Slow down. Desynchronize from standard time frames and
surprising opportunities may present themselves.
14. Don’t be cool. Cool is conservative fear dressed in black. Free
yourself from limits of this sort.
15. Ask stupid questions. Growth is fueled by desire and
innocence. Assess the answer, not the question. Imagine learning
throughout your life at the rate of an infant.
16. Collaborate. The space between people working together is
filled with conflict, friction, strife, exhilaration, delight, and vast creative
potential.
17. ——————————. Intentionally left blank. Allow space for
the ideas you haven’t had yet, and for the ideas of others.
18. Stay up late. Strange things happen when you’ve gone too far,
been up too long, worked too hard, and you’re separated from the rest
of the world.
19. Work the metaphor. Every object has the capacity to stand for
something other than what is apparent.Work on what it stands for.
20. Be careful to take risks. Time is genetic.Today is the child of
yesterday and the parent of tomorrow.The work you produce today
will create your future.
21. Repeat yourself. If you like it, do it again. If you don’t like it, do it
again.
22. Make your own tools. Hybridize your tools in order to build
unique things. Even simple tools that are your own can yield entirely new
avenues of exploration. Remember, tools amplify our capacities, so even
a small tool can make a big difference.
23. Stand on someone’s shoulders. You can travel farther
carried on the accomplishments of those who came before you. And
the view is so much better.
24. Avoid software. The problem with software is that everyone
has it.
— BRUCE MAU
25. Don’t clean your desk. You might find something in the
morning that you can’t see tonight.
26. Don’t enter awards competitions. Just don’t. It’s not
good for you.
27. Read only left-hand pages. Marshall McLuhan did this. By
decreasing the amount of information, we leave room for what he called
our “noodle.”
28. Make new words. Expand the lexicon.The new conditions
demand a new way of thinking.The thinking demands new forms of
expression.The expression generates new conditions.
29. Think with your mind. Forget technology. Creativity is not
device-dependent.
30. Organization = Liberty. Real innovation in design, or any
other field, happens in context.That context is usually some form of
cooperatively managed enterprise. Frank Gehry, for instance, is only able
to realize Bilbao because his studio can deliver it on budget.The myth
of a split between “creatives” and “suits” is what Leonard Cohen calls a
‘charming artifact of the past.’
31. Don’t borrow money. Once again, Frank Gehry’s advice. By
maintaining financial control, we maintain creative control. It’s not exactly
rocket science, but it’s surprising how hard it is to maintain this discipline,
and how many have failed.
32. Listen carefully. Every collaborator who enters our orbit brings
with him or her a world more strange and complex than any we could
ever hope to imagine. By listening to the details and the subtlety of their
needs, desires, or ambitions, we fold their world onto our own. Neither
party will ever be the same.
33. Take field trips. The bandwidth of the world is greater than that
of your TV set, or the Internet, or even a totally immersive, interactive,
dynamically rendered, object-oriented, real-time, computer graphic–
simulated environment.
34. Make mistakes faster. This isn’t my idea — I borrowed it. I
think it belongs to Andy Grove.
35. Imitate. Don’t be shy about it.Try to get as close as you can.You’ll
never get all the way, and the separation might be truly remarkable.
We have only to look to Richard Hamilton and his version of Marcel
Duchamp’s large glass to see how rich, discredited, and underused
imitation is as a technique.
36. Scat. When you forget the words, do what Ella did: make up
something else ... but not words.
37. Break it, stretch it, bend it, crush it, crack it, fold it.
38. Explore the other edge. Great liberty exists when we avoid
trying to run with the technological pack.We can’t find the leading edge
because it’s trampled underfoot.Try using old-tech equipment made
obsolete by an economic cycle but still rich with potential.
39. Coffee breaks, cab rides, green rooms. Real growth
often happens outside of where we intend it to, in the interstitial spaces
— what Dr. Seuss calls “the waiting place.” Hans Ulrich Obrist once
organized a science and art conference with all of the infrastructure of
a conference — the parties, chats, lunches, airport arrivals — but with
no actual conference. Apparently it was hugely successful and spawned
many ongoing collaborations.
40. Avoid fields. Jump fences. Disciplinary boundaries and
regulatory regimes are attempts to control the wilding of creative life.
They are often understandable efforts to order what are manifold,
complex, evolutionary processes. Our job is to jump the fences and
cross the fields.
41. Laugh. People visiting the studio often comment on how much we
laugh. Since I’ve become aware of this, I use it as a barometer of how
comfortably we are expressing ourselves.
42. Remember. Growth is only possible as a product of history.
Without memory, innovation is merely novelty. History gives growth a
direction. But a memory is never perfect. Every memory is a degraded
or composite image of a previous moment or event.That’s what makes
us aware of its quality as a past and not a present. It means that every
memory is new, a partial construct different from its source, and, as such,
a potential for growth itself.
43. Power to the people. Play can only happen when people
feel they have control over their lives.We can’t be free agents if we’re
not free.
My view on this manifesto shows designers a guideline to follow in order to be successful in what they do on a daily basis. These guidelines help us designers in being creative and our creativity helps us grow individually. This manifesto focuses on a designers satisfaction through them being satisfied with their career, this links with one trying to balance life. The manifesto also helps a designer to get ready for the path of success which helps them get better and stronger in what they do.
