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Design is Leadership

Patrick Gibson
Problem

A designer has limited influence to advance bold
decisions in the typical role as tradesperson.
Hypothesis

By taking ownership over client goals, a designer
can become a leader who measurably impacts
business and society.

The more designers shoulder the consequences of
failure, the greater authority they possess in
employing their conviction and courage of
imagination to profound effect.
Creative References
             Jonathan Ive
             Senior Vice President of Industrial Design
             at Apple, Inc.
             “Today, Apple represents the most successful and
             faithful marriage of business and design, as $32
             billion in sales last year attest. And Ive has been
             the company's lodestar in its journey to global
             trendsetter.”

             — Chuck Salter, Fast Company
Creative References
             David Plouffe
             Chief Campaign Manager for Barack Obama’s
             2008 presidential campaign
             “ The story of Mr. Obama’s journey to the pinnacle
             of American politics is the story of a campaign that
             was, even in the view of many rivals, almost
             flawless. Mr. Plouffe [was] known for his
             mathematic invocation of data in making decisions.
             When Mr. Obama decided to run for the
             presidency, Mr. Plouffe and a half-dozen staff
             members began plotting out a strategy.”

             — Adam Nagourney, Jim Rutenberg and Jeff
             Zeleny, The New York Times
             http://www.nytimes.com/2008/11/05/us/politics/05recon.html
Creative References
              Paul Rand
             Designer of Enron Logo
             “ You couldn't take a picture of Enron's crime:
             it all happened in the world of numbers and
             spreadsheets, of financial reports and affidavits.
             But there was something you could take a picture
             of, and that was Rand's logo. A company with a
             made-up name, incomprehensible business
             practices, and largely intangible assets suddenly
             had a vivid manifestation, a logo that once might
             have stood for nimbleness, balance and
             connectivity, now given new life as 'the crooked
             E.'”

             — Michael Bierut, Design Observer
From the Valorized Designer

"What we need in the next century are
independently-minded, creative, constructive
designers who are not just 'capitalist lackeys,'
ideologues,' or 'technical whiz-kids.'"

— Nigel Whiteley
From the Valorized Designer

Indeed, tomorrow's designer must not create mere
graphic artifact and ephemera, but instead design
larger architectures employing these artifacts to
profound and noticeable consequence, with
accountability for the results.
Content Outline

I. Introduction and Hypothesis


 A.   Problem
   •   Anecdotal story lead-in introduction (SOURCE: clientsfromhell.net, similar websites)
   •   The most common gripe: Clients don't listen to designers
   •   Perception of the designer as machine operator
   •   The limited influence of designers in agencies or in-house
   •   Frequent timidity and ineffectiveness of real-world design
   •   Opportunities lost, growth unrealized for organizations, society

 B.    Hypothesis
  •    Clients have more responsibility than designers, which gives them final say
  •    Designers are perceived to think more about their portfolio than the client's success
  •    Taking ownership of a client's mission changes the equation
  •    Ownership could be financial, emotional, procedural
  •    Designers must think holistically and make decisions as leaders
  •    Measured, quantifiable results necessary to prove a designer's effectiveness
Content Outline
II.
 he Problem
   T

  A. Introductory case study
   • Paul Rand and Enron: Where design failed
   • Rand has no concern of the company, only his craft

 B. Timeline of the profession
   • Design's origins in the typesetting/printing trade (SOURCES: A History of Graphic Design, Philip B.
Meggs; Graphic Design HIstory: A Critical Guide, Johanna Drucker and Emily McVarish)
   • Modern design and the birth of advertising, branding
   (SOURCES: "Mad Men," ABC; Paul Rand, Steven Heller)
   • Macintosh and the personal computing revolution: A rattled print trade
   • Digital design: A specialty trade, but less design than engineering
   • Outsourcing design: China, India, logoworks.com

  C. The profession today
   • Adapting to desktop publishing: the designer/consultant/strategist mishmash
Content Outline

Part 3: "Claiming Ownership"
 • The Importance of Measurable Results

 • Becoming a Leader

 • Designer as Entrepreneur

 • Examples of the New Designer

 • Barriers to this Model
Content Outline

Part 4: "The Courage of Imagination"
 • What the New Responsibility Means for the Profession

 • Design's Importance in a Complex Society/Economy

 • What a Designer-led World Could Look Like
Sources
Interviews
Peter J. Pultorak, marketer, on relationship between designers and strategists
Martin Venezky, designer/business owner, on establishing reputations and trust with clients
Ray Mancini, designer/business owner, on joint ventures with clients
Tom Klinkowstein, designer/business owner, on differing views of design in academia

Books
Paul Rand, Steven Heller
How to be a Graphic Designer without Losing Your Soul, Adrian Shaughnessy
A History of Graphic Design, Philip B. Meggs
Graphic Design HIstory: A Critical Guide, Johanna Drucker and Emily McVarish
Switch, Chip Heath and Dan Heath
Made to Stick, Chip Heath and Dan Heath
On Marketing, Philip Kotler
The Tipping Point, Malcolm Gladwell
Sources
Magazines / Periodicals
Fast Company
Wired
Good
Eye Magazine
The New York Times
The Wall Street Journal
"The Valorized Designer," Nigel Whiteley

Websites
clientsfromhell.net
goodfuckingdesignadvice.com
logoworks.com

Video / Television / Movies
TED lectures
Mad Men, ABC

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Presentation v8

  • 2. Problem A designer has limited influence to advance bold decisions in the typical role as tradesperson.
  • 3. Hypothesis By taking ownership over client goals, a designer can become a leader who measurably impacts business and society. The more designers shoulder the consequences of failure, the greater authority they possess in employing their conviction and courage of imagination to profound effect.
  • 4. Creative References Jonathan Ive Senior Vice President of Industrial Design at Apple, Inc. “Today, Apple represents the most successful and faithful marriage of business and design, as $32 billion in sales last year attest. And Ive has been the company's lodestar in its journey to global trendsetter.” — Chuck Salter, Fast Company
  • 5. Creative References David Plouffe Chief Campaign Manager for Barack Obama’s 2008 presidential campaign “ The story of Mr. Obama’s journey to the pinnacle of American politics is the story of a campaign that was, even in the view of many rivals, almost flawless. Mr. Plouffe [was] known for his mathematic invocation of data in making decisions. When Mr. Obama decided to run for the presidency, Mr. Plouffe and a half-dozen staff members began plotting out a strategy.” — Adam Nagourney, Jim Rutenberg and Jeff Zeleny, The New York Times http://www.nytimes.com/2008/11/05/us/politics/05recon.html
  • 6. Creative References Paul Rand Designer of Enron Logo “ You couldn't take a picture of Enron's crime: it all happened in the world of numbers and spreadsheets, of financial reports and affidavits. But there was something you could take a picture of, and that was Rand's logo. A company with a made-up name, incomprehensible business practices, and largely intangible assets suddenly had a vivid manifestation, a logo that once might have stood for nimbleness, balance and connectivity, now given new life as 'the crooked E.'” — Michael Bierut, Design Observer
  • 7. From the Valorized Designer "What we need in the next century are independently-minded, creative, constructive designers who are not just 'capitalist lackeys,' ideologues,' or 'technical whiz-kids.'" — Nigel Whiteley
  • 8. From the Valorized Designer Indeed, tomorrow's designer must not create mere graphic artifact and ephemera, but instead design larger architectures employing these artifacts to profound and noticeable consequence, with accountability for the results.
  • 9. Content Outline I. Introduction and Hypothesis A. Problem • Anecdotal story lead-in introduction (SOURCE: clientsfromhell.net, similar websites) • The most common gripe: Clients don't listen to designers • Perception of the designer as machine operator • The limited influence of designers in agencies or in-house • Frequent timidity and ineffectiveness of real-world design • Opportunities lost, growth unrealized for organizations, society B. Hypothesis • Clients have more responsibility than designers, which gives them final say • Designers are perceived to think more about their portfolio than the client's success • Taking ownership of a client's mission changes the equation • Ownership could be financial, emotional, procedural • Designers must think holistically and make decisions as leaders • Measured, quantifiable results necessary to prove a designer's effectiveness
  • 10. Content Outline II. he Problem T A. Introductory case study • Paul Rand and Enron: Where design failed • Rand has no concern of the company, only his craft B. Timeline of the profession • Design's origins in the typesetting/printing trade (SOURCES: A History of Graphic Design, Philip B. Meggs; Graphic Design HIstory: A Critical Guide, Johanna Drucker and Emily McVarish) • Modern design and the birth of advertising, branding (SOURCES: "Mad Men," ABC; Paul Rand, Steven Heller) • Macintosh and the personal computing revolution: A rattled print trade • Digital design: A specialty trade, but less design than engineering • Outsourcing design: China, India, logoworks.com C. The profession today • Adapting to desktop publishing: the designer/consultant/strategist mishmash
  • 11. Content Outline Part 3: "Claiming Ownership" • The Importance of Measurable Results • Becoming a Leader • Designer as Entrepreneur • Examples of the New Designer • Barriers to this Model
  • 12. Content Outline Part 4: "The Courage of Imagination" • What the New Responsibility Means for the Profession • Design's Importance in a Complex Society/Economy • What a Designer-led World Could Look Like
  • 13. Sources Interviews Peter J. Pultorak, marketer, on relationship between designers and strategists Martin Venezky, designer/business owner, on establishing reputations and trust with clients Ray Mancini, designer/business owner, on joint ventures with clients Tom Klinkowstein, designer/business owner, on differing views of design in academia Books Paul Rand, Steven Heller How to be a Graphic Designer without Losing Your Soul, Adrian Shaughnessy A History of Graphic Design, Philip B. Meggs Graphic Design HIstory: A Critical Guide, Johanna Drucker and Emily McVarish Switch, Chip Heath and Dan Heath Made to Stick, Chip Heath and Dan Heath On Marketing, Philip Kotler The Tipping Point, Malcolm Gladwell
  • 14. Sources Magazines / Periodicals Fast Company Wired Good Eye Magazine The New York Times The Wall Street Journal "The Valorized Designer," Nigel Whiteley Websites clientsfromhell.net goodfuckingdesignadvice.com logoworks.com Video / Television / Movies TED lectures Mad Men, ABC

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