I read the First Things First manifesto in 2002, near the end of my third year in college as a student of Graphic Design. Aesthetics, visual organization, typography, design theory, the principles of modernism and gestalt, conceptualization, message and symbolism — the fundamentals locked in. The discipline is broad: editorial, advertising, corporate, exhibition, publishing, packaging, educational, web design. The field seemed to offer so much possibility. A great deal of choice and a binding sense of determination.

The design community outside the university walls, however, debated. Questioned and reassessed our profession — a discussion spurred at the end of the last century on a designer’s responsibility as a citizen.

I read the manifesto. I read Adbusters, Emigre and No Logo. Society of the Spectacle found its way onto my bookshelf. I minored in Sociology and studied the results of globalization on developing nations under the authority of the West.

It had its effect.

Under this (clearly liberal) sphere of influence, I pushed through my final year of study with a growing skepticism and unease. Often this appeared as cynicism or apathy; in design as satire. In better moments, it let everything unhinge, resulting in truly spectacular design experiments. Saddled with a reckless anti-consumerism and the lofty ideals of youth, I graduated with a mission to do something good — something responsible — with my career.

Pragmatism

Someone remarked to me then, on my intent: “Oh, to be twenty-three again”. I found it incredibly patronizing then, as now. In truth it points to a glimmer of insight that innocence and naive idealism are lost in age, traits often envied when imagination or innovation appears stifled.

The work was corporate telecom, then consumer electronics. The idealism faded swiftly with each rejected interview, with each weekly, insufficient paycheck.

Working later with art galleries and artists, while not doing much to save the world, felt like a worthwhile endeavour and supported the arts, in its own way. Chasing good design has always been its own reward, and good design often comes from deep-pocketed clients.

Headshift initially piqued my interest with their media, educational and third sector work. They initially did work that aimed to incorporate a social good while using technology to connect people and businesses together. Open communication, collaboration and knowledge sharing; generally making day-to-day lives better.

Often, doing interesting work is enough. Doing interesting work with incredibly talented and clever people is even better.

Except.

Every so often the lion resting quietly in the recesses wakes up and makes some noise. And lions want to be heard.

Responsibility

The thing is, it is very difficult to define what it means to practice design in a socially responsible way. The challenge is bound to the environment, politics, labor markets, and education. It requires an acknowledgement of the sociological and psychological impact of consumerism and advertising on people and culture.

For all the debate, the hand-wringing and the manifestos: there is no consensus. Do you work exclusively for non-profits? Dedicate yourself to multinationals by day, work a soup kitchen on the weekend and send the annual Christmas season pro-bono donation? Offer freelance to the occasional cause that piques your interest? Turn down pitches for tobacco, alcohol, oil?

Voluntary effort isn’t always worth the effort. At times, a charity exposes itself to the same hypocrisy, cronyism and corruption as any large corporation. Ill-informed or poorly trained employees in the third sector can dilute their organization’s message and cripple efficiency.

Weigh these challenges against a bigger contradiction: the free market is right. Competition and innovation are vital for an individual to create and distribute amazing things without much interference from others.

I admire people like the late Tibor Kalman who seemed to find a balance between contradictions. It’s curious to think the most effective approach is often the most uncomfortable; e.g. social awareness coupled with product advertising for Benetton.

What altruistic role can design have in a global, corporate-driven, branded consumer culture?

Raising awareness, to start. We can encourage organizations to research clients, find common values. Avoid designing for products without perceivable value. Be subversive. Question motives. Try to do something that matters. Educate.

Beyond that? I don’t have an answer yet. The notion of design with social impact is unique to every individual. How effective design is for creating good is subject to question, often beholden to cynicism.

Aspiration

I believe it’s important to hold onto motivation and instinct, however muddled.

It is more practical to suggest that we stay pragmatic and pursue socially responsible work as and when possible. Say: inherent flaws aside, each new project will be worthwhile in its own right. Chase profit on corporates to subsidize a discount on non-profit. In small ways, attempt to help people connect and solve social problems, drive digital innovation and foster sustainability. In time, the culmination of effort will stand as a step closer to facilitating a positive impact.

I would rather say: only chase work that matters. Let projects fail. Demand a movement of transformation and create change. Use design as protest and enabler. Couple design with strategy and technology to make an impact. Do good things. Effect change.