Writing and Research for Graphic Designers: A Designer’s Manual to Strategic Communication and Presentation

176 Pages·2015·45.28 MB·english

by  Steven Heller

identify
structure
seperate
analyze voice learn
collect
assign
data meaning draft
refine
define detail expand
clarify
validate
formulate
order
publish
define
interview
audience
assemble
understand
WRITING
outline minor major
defend
filter
refine
map factor
draft
plan visualize take
AND
action
express
hypothesis reveal
discuss design
10 in
RESEARCH
strategize
create
ideate share
evaluate
theorize name
FOR GRAPHIC DESIGNERS validate
plan
refine organize
gather
collect
limit narrow filter
refine
validate
familiarize brainstorm search ideas
target EDIT
identify
interpret understand filter
separate
analyze
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refine
define detail
clarify
SSTTEEVVEENN HHEELLLLEERR
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© 2012 Rockport Publishers
Text © 2012 Steven Heller oouuttlliinnee WWRRIITTIINNGG mmiinnoorr mmaajjoorr
First published in the United States of America in 2012 by ddeeffeenndd
Rockport Publishers, a member of ffiilltteerr
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AANNDD
All rights reserved. No part of this book may be reproduced in any form without written permission of the aaccttiioonn
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eexxpprreessss
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occurred and will resolve inaccurate or missing information in a subsequent reprinting of the book. 1100 iinn
Library of Congress Cataloging-in-Publication Data RREESSEEAARRCCHH ddiissccuussss ddeessiiggnn

Heller, Steven.
ssttrraatteeggiizzee
Writing and research for graphic designers : a designer’s manual to strategic communication and presentation
ccrreeaattee
/ Steven Heller.
pages cm iiddeeaattee sshhaarree
ISBN: 978-1-59253-804-1 (pbk.)
1. Commercial art—Marketing. 2. Graphic arts—Marketing. 3. Business writing. 4. Research. I. Title.
NC1001.H465 2013 eevvaalluuaattee
tthheeoorriizzee nnaammee
808.06'6741—dc23 ppllaann FFOORR GGRRAAPPHHIICC DDEESSIIGGNNEERRSS vvaalliiddaattee
2012014787
CIP
rreeffiinnee oorrggaanniizzee
ISBN 978-1-59253-804-1 ggaatthheerr
Digital edition published in 2012 ccoolllleecctt
eISBN 978-1-61058-649-8
lliimmiitt nnaarrrrooww ffiilltteerr
rreeffiinnee
vvaalliiddaattee
10 9 8 7 6 5 4 3 2 1
DCoevsiegr nI:m Laagned: eLrsa nMdielrlse rM Dilelseirg Dnesign ffaammiilliiaarriizzee bbrraaiinnssttoorrmm ddeeffiinnee ccooddllaalltteeaacctt aa ddeessiiggnneerr’’ss mmaannuuaall
TTOO SSTTRRAATTEEGGIICC
Printed in China iiddeennttiiffyy
iinntteerrpprreett uunnddeerrssttaanndd CCOOMMMMUUNNIICCAATTIIOONN
AANNDD PPRREESSEENNTTAATTIIOONN
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aassssiiggnn
mmeeaanniinngg
ccllaarriiffyy
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CONTENTS /
Preface foreword iinnttrroodduuccttiioonn
Designers, Meet Designers, Make WWhhyy
the Word Your Mark II WWrriittee
7 8 1122
how to edit and be edited
3
The Editor Is a Writer’s Best Friend
Sue Apfelbaum Talks about What an Editor Does . . . .94 Deborah Hussey Talks about Writing for Books . . . . .103
Aaron Kenedi Talks about Editing a . . . . . . . . . . . . . .96 End of the Glue-Pot Era: An Editing Process . . . . . .104
Design Magazine in Three Versions / by Steven Heller
the
reading Aaron Kenedi’s Favorite Print Spreads . . . . . . . . . . . . .98
1 part editorial
one Excerpts from Monumental: The Reimagined . . . .100
The Key to Good Research and Wrting role
World of Kevin O’Callaghan / by Deborah Hussey
92
What to Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Taking Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
How to Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
reading,
writing & writing
part writers discuss their writing
research two 4
Thoughts on Paper or Screen
18 Designers as Authors / Authors on Design
Your Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31 Avoiding Clichés . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
On Failure by Allan Chochinov . . . . . . . . . . . . . . . . .112 Fanzines by Teal Triggs . . . . . . . . . . . . . . . . . . . . . . .120
Where Ideas Come From / by Ellen Shapiro . . . . . . . . .32 The Music of Words . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Allan Chochinov Talks about the Writer’s Attitude . .113 by Adrian Shaughnessy
Getting Ideas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32 Telling Stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
To Write about Design Is to Care about Other People .114 Adrian Shaughnessy Talks about Being Personal . . . .123
Strategic Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33 Poster-a-Day: A Visual Vitamin / by Steven Heller . . .42 learning
by David Barringer Thomas Lenthal: The Deejay of . . . . . . . . . . . . . . . . .124
Targeting an Audience . . . . . . . . . . . . . . . . . . . . . . . . .34 Pitching a Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45 from
David Barringer Talks about Respect for the Reader .115 Visual References / by Veronique Vienne
Self-Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34 Publishing Your Book: Getting the Green Light . . . . .46 exPeriences
The Language of Design Imperialism . . . . . . . . . . . . .116 Veronique Vienne Talks about Her Handicaps . . . . . .127
The Editor’s Role . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35 by Emily Potts
110 by Maria Popova My Annotated Interview with Mike Salisbury . . . . . .128
Phil Patton Talks about How Writing Is Editing . . . .35
Maria Popova Talks about . . . . . . . . . . . . . . . . . . . . .118 by Michael Dooley
Buzzword-Encrusted Language Michael Dooley on Discovery and Skepticism . . . . . . .132
research
part
three
Building the Narrative Foundation
the language of text and pictures
5
Database Research . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49 Beth Kleber Talks about Research . . . . . . . . . . . . . . . . .51 The Multimedia Designer/Author
Library and Museum Research . . . . . . . . . . . . . . . . . .50 Secondary Resources . . . . . . . . . . . . . . . . . . . . . . . . . . .52
Primary Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50 Alexander Tochilovsky Talks about Archives . . . . . . . .52 The Nose / by Seymour Chwast . . . . . . . . . . . . . . . . . .136 “All the News That Fits” / by Paula Scher . . . . . . . .152
No Google! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54 Things He Has Learned / by Stefan Sagmeister . . . . .142 Eames Words / by Andrew Byrom . . . . . . . . . . . . . . . .158
344 Questions / by Stefan Bucher . . . . . . . . . . . . . . . .148
writing
with
1 . Long Form/Short Form . . . . . . . . . . . . . . . . . . . .58 5 . Criticism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72
2 images
Akiko Busch Talks about Being a Design User . . . . . .58 The Death of the Critic / by Rick Poynor . . . . . . . . . . .73
2 . Journalism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59 Rick Poynor Talks about Writing Criticism . . . . . . . . .76 134
Design Journalism for the Mass Market . . . . . . . . . . . .60 Andrea Lange Talks about Writing Criticism . . . . . . .78
by Alice Twemlow 6 . Public Relations . . . . . . . . . . . . . . . . . . . . . . . . .79
Alice Twemlow Talks about Covering Design Culture .61 Michael Grant Talks about Effective Publicity . . . . . .80
surveying
3 . Business . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63 7 . Blog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
the
Orn’ry Usage / by Ralph Caplan . . . . . . . . . . . . . . . . .64 School Days / by Gail Anderson . . . . . . . . . . . . . . . . . .82
disciPlines Ralph Caplan Talks about Writing Skill . . . . . . . . . .65 “Thank You,” or Why Socrates Was Wrong . . . . . . . . .85 ePilogue selected contributor
Is Anybody index
56 4 . Academic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66 by Liz Danzico bibliograPhy biograPhies
Excerpts from “Alphabet and Image” . . . . . . . . . . . . . .67 Art Nouveau Feeder Fetishist / by Sean Adams . . . . . .86 Reading? 168
163 165
by Kerry William Purcell Sean Adams Talks about Blogging . . . . . . . . . . . . . . . .89 162
: case study
Kerry William Purcell Talks about Writing History . .68 Alissa Walker Talks about Her Favorite Form . . . . . .91
: q & a sidebar
Linda King Talks about Scholarly Writing . . . . . . . . .71 of Writing
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CONTENTS /
Preface foreword iinnttrroodduuccttiioonn
Designers, Meet Designers, Make WWhhyy
the Word Your Mark II WWrriittee
7 8 1122
how to edit and be edited
3
The Editor Is a Writer’s Best Friend
Sue Apfelbaum Talks about What an Editor Does . . . .94 Deborah Hussey Talks about Writing for Books . . . . .103
Aaron Kenedi Talks about Editing a . . . . . . . . . . . . . .96 End of the Glue-Pot Era: An Editing Process . . . . . .104
Design Magazine in Three Versions / by Steven Heller
the
reading Aaron Kenedi’s Favorite Print Spreads . . . . . . . . . . . . .98
1 part editorial
one Excerpts from Monumental: The Reimagined . . . .100
The Key to Good Research and Wrting role
World of Kevin O’Callaghan / by Deborah Hussey
92
What to Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Taking Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
How to Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
reading,
writing & writing
part writers discuss their writing
research two 4
Thoughts on Paper or Screen
18 Designers as Authors / Authors on Design
Your Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31 Avoiding Clichés . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
On Failure by Allan Chochinov . . . . . . . . . . . . . . . . .112 Fanzines by Teal Triggs . . . . . . . . . . . . . . . . . . . . . . .120
Where Ideas Come From / by Ellen Shapiro . . . . . . . . .32 The Music of Words . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Allan Chochinov Talks about the Writer’s Attitude . .113 by Adrian Shaughnessy
Getting Ideas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32 Telling Stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
To Write about Design Is to Care about Other People .114 Adrian Shaughnessy Talks about Being Personal . . . .123
Strategic Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33 Poster-a-Day: A Visual Vitamin / by Steven Heller . . .42 learning
by David Barringer Thomas Lenthal: The Deejay of . . . . . . . . . . . . . . . . .124
Targeting an Audience . . . . . . . . . . . . . . . . . . . . . . . . .34 Pitching a Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45 from
David Barringer Talks about Respect for the Reader .115 Visual References / by Veronique Vienne
Self-Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34 Publishing Your Book: Getting the Green Light . . . . .46 exPeriences
The Language of Design Imperialism . . . . . . . . . . . . .116 Veronique Vienne Talks about Her Handicaps . . . . . .127
The Editor’s Role . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35 by Emily Potts
110 by Maria Popova My Annotated Interview with Mike Salisbury . . . . . .128
Phil Patton Talks about How Writing Is Editing . . . .35
Maria Popova Talks about . . . . . . . . . . . . . . . . . . . . .118 by Michael Dooley
Buzzword-Encrusted Language Michael Dooley on Discovery and Skepticism . . . . . . .132
research
part
three
Building the Narrative Foundation
the language of text and pictures
5
Database Research . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49 Beth Kleber Talks about Research . . . . . . . . . . . . . . . . .51 The Multimedia Designer/Author
Library and Museum Research . . . . . . . . . . . . . . . . . .50 Secondary Resources . . . . . . . . . . . . . . . . . . . . . . . . . . .52
Primary Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50 Alexander Tochilovsky Talks about Archives . . . . . . . .52 The Nose / by Seymour Chwast . . . . . . . . . . . . . . . . . .136 “All the News That Fits” / by Paula Scher . . . . . . . .152
No Google! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54 Things He Has Learned / by Stefan Sagmeister . . . . .142 Eames Words / by Andrew Byrom . . . . . . . . . . . . . . . .158
344 Questions / by Stefan Bucher . . . . . . . . . . . . . . . .148
writing
with
1 . Long Form/Short Form . . . . . . . . . . . . . . . . . . . .58 5 . Criticism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72
2 images
Akiko Busch Talks about Being a Design User . . . . . .58 The Death of the Critic / by Rick Poynor . . . . . . . . . . .73
2 . Journalism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59 Rick Poynor Talks about Writing Criticism . . . . . . . . .76 134
Design Journalism for the Mass Market . . . . . . . . . . . .60 Andrea Lange Talks about Writing Criticism . . . . . . .78
by Alice Twemlow 6 . Public Relations . . . . . . . . . . . . . . . . . . . . . . . . .79
Alice Twemlow Talks about Covering Design Culture .61 Michael Grant Talks about Effective Publicity . . . . . .80
surveying
3 . Business . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63 7 . Blog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
the
Orn’ry Usage / by Ralph Caplan . . . . . . . . . . . . . . . . .64 School Days / by Gail Anderson . . . . . . . . . . . . . . . . . .82
disciPlines Ralph Caplan Talks about Writing Skill . . . . . . . . . .65 “Thank You,” or Why Socrates Was Wrong . . . . . . . . .85 ePilogue selected contributor
Is Anybody index
56 4 . Academic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66 by Liz Danzico bibliograPhy biograPhies
Excerpts from “Alphabet and Image” . . . . . . . . . . . . . .67 Art Nouveau Feeder Fetishist / by Sean Adams . . . . . .86 Reading? 168
163 165
by Kerry William Purcell Sean Adams Talks about Blogging . . . . . . . . . . . . . . . .89 162
: case study
Kerry William Purcell Talks about Writing History . .68 Alissa Walker Talks about Her Favorite Form . . . . . .91
: q & a sidebar
Linda King Talks about Scholarly Writing . . . . . . . . .71 of Writing
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Writing & research for graphic designers
6 7
ACkNOwlEdgmENTS PREFACE
Designers, Meet the Word
I cannot thank enough my Rockport editor, Emily Potts, for her continued encouragement and expertise. She has Designers are routinely called upon to write about the
long been an enthusiastic cheerleader, yet a hard taskmaster. Thanks also to Winnie Prentice and Regina Grenier at
images and designs they create. Writing and research skills
Rockport for all their support, especially on this project.
Kimberlie Birks, my former SVA MFA D-Crit student, contributed much to the early stages of this book. Thank are more necessary now than ever before—from basic business
you for your great spirit and assistance. Rick Landers, my former SVA MFA Designer as Author + Entrepreneur
to advanced criticism. Writing about design is not just for
student, has been the design backbone of many books I’ve written and edited over the past decade. His great eye
and sound judgment are essential to the success of these projects. the trade; it must be accessible to everyone with an interest
To David Rhodes, president, and Anthony Rhodes, executive vice president, of the School of Visual Arts, I am
in design.
very grateful for all the incredible support I’ve received for this and other activities.
Thanks to all the writers and editors who have enriched my life and made important contributions to this book:
Being able to express, analyze, and report on the issues of design practice demands facts, data, and research.
Alice Twemlow, Rick Poynor, Ralph Caplan, Veronique Vienne, David Barringer, Allan Chochinov, Akiko Busch,
Understanding how to turn information into valuable strategic assets is one of the key talents the design writer
Deborah Hussey, Aaron Kenedi, Phil Patton, Sue Apfelbaum, Adrian Shaughnessy, Andrea Lange, Liz Danzico,
and researcher must possess.
Maria Popova, Michael Grant, Gail Anderson, Kerry William Purcell, Ellen Shapiro, Linda King, Sean Adams,
This book is an introductory guide to various forms of writing and fundamental research—and how images
Alissa Walker, Michael Dooley, and Jude Stewart. Tips of the hat to archivists Beth Kleber at SVA and Alexander
can be visualized through words. It addresses communication on various levels and for multiple audiences:
Tochilovsky at Cooper Union for their words of experience.
designers to designers; designers to clients; designers to the design-literate; and designers to the design-agnostic.
Also, it is with much appreciation that I acknowledge the designers who contributed their word/image confections
The methods of research discussed here include library, online, primary and secondary sources, and more. The
to this book: Andrew Byrom, Seymour Chwast, Paula Scher, Stefan Sagmeister, and Stefan Bucher.
methods of writing focus on trade journalism, scholarly and academic discourse, criticism, and general journalism,
To my colleague and co-chair at MFA Design/Designer as Author + Entrepreneur, Lita Talarico, I thank you for
as well as fundamental business-to-business proposal and capability communications.
such a long and fruitful collaboration.
On what platforms can design research and writing be best distributed? This book focuses on magazines,
And finally, all my love and thanks to my wife and collaborator, Louise Fili, who has entered her own world of
blogs, papers, lectures, journals, books—and even press releases. And how can design, typography, and illustration
writing and research with elegance and poise. And who always tries, often in vain, to keep me elegant and poised.
be used in concert with good writing? You will see.
steven heller This is the first handbook for those designers who write and those writers who design.
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Writing & research for graphic designers
6 7
ACkNOwlEdgmENTS PREFACE
Designers, Meet the Word
I cannot thank enough my Rockport editor, Emily Potts, for her continued encouragement and expertise. She has Designers are routinely called upon to write about the
long been an enthusiastic cheerleader, yet a hard taskmaster. Thanks also to Winnie Prentice and Regina Grenier at
images and designs they create. Writing and research skills
Rockport for all their support, especially on this project.
Kimberlie Birks, my former SVA MFA D-Crit student, contributed much to the early stages of this book. Thank are more necessary now than ever before—from basic business
you for your great spirit and assistance. Rick Landers, my former SVA MFA Designer as Author + Entrepreneur
to advanced criticism. Writing about design is not just for
student, has been the design backbone of many books I’ve written and edited over the past decade. His great eye
and sound judgment are essential to the success of these projects. the trade; it must be accessible to everyone with an interest
To David Rhodes, president, and Anthony Rhodes, executive vice president, of the School of Visual Arts, I am
in design.
very grateful for all the incredible support I’ve received for this and other activities.
Thanks to all the writers and editors who have enriched my life and made important contributions to this book:
Being able to express, analyze, and report on the issues of design practice demands facts, data, and research.
Alice Twemlow, Rick Poynor, Ralph Caplan, Veronique Vienne, David Barringer, Allan Chochinov, Akiko Busch,
Understanding how to turn information into valuable strategic assets is one of the key talents the design writer
Deborah Hussey, Aaron Kenedi, Phil Patton, Sue Apfelbaum, Adrian Shaughnessy, Andrea Lange, Liz Danzico,
and researcher must possess.
Maria Popova, Michael Grant, Gail Anderson, Kerry William Purcell, Ellen Shapiro, Linda King, Sean Adams,
This book is an introductory guide to various forms of writing and fundamental research—and how images
Alissa Walker, Michael Dooley, and Jude Stewart. Tips of the hat to archivists Beth Kleber at SVA and Alexander
can be visualized through words. It addresses communication on various levels and for multiple audiences:
Tochilovsky at Cooper Union for their words of experience.
designers to designers; designers to clients; designers to the design-literate; and designers to the design-agnostic.
Also, it is with much appreciation that I acknowledge the designers who contributed their word/image confections
The methods of research discussed here include library, online, primary and secondary sources, and more. The
to this book: Andrew Byrom, Seymour Chwast, Paula Scher, Stefan Sagmeister, and Stefan Bucher.
methods of writing focus on trade journalism, scholarly and academic discourse, criticism, and general journalism,
To my colleague and co-chair at MFA Design/Designer as Author + Entrepreneur, Lita Talarico, I thank you for
as well as fundamental business-to-business proposal and capability communications.
such a long and fruitful collaboration.
On what platforms can design research and writing be best distributed? This book focuses on magazines,
And finally, all my love and thanks to my wife and collaborator, Louise Fili, who has entered her own world of
blogs, papers, lectures, journals, books—and even press releases. And how can design, typography, and illustration
writing and research with elegance and poise. And who always tries, often in vain, to keep me elegant and poised.
be used in concert with good writing? You will see.
steven heller This is the first handbook for those designers who write and those writers who design.
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na C R D IE T SI C IG I SN M l a cin h c et WRITING ssenisub T W E E T I N G T cEiXTING Tofo ocltahslseiscs Hcoowllbyowyos oadn dW wehstieskrnerse—d cporuolsdp ebcatorerlsy— restaadp loers
la me write, so they made crude marks in lieu of signatures.
city VERBAL dac
j o B R SETVRITUYCTURERESEARCH DMEASMKIGEA NRYEKORUSR, READING SIMPFLUINCa CI T T Y I O N e Gramtphucrracaleaertucp, kis vshyseee—edirlctby ol aadtoflceh ,gcn setooioe grsrxtd.en t iwaLeunsroarogslign ,ta tiisacorn n ef gaao dnn r co odoerbtt rehar tice ealmoarilni dmcot ieodsnirlgniagacngnt.uie dtaTm ie( vhgor e,orer atfydt hp oseoehcfioyniicte clhihny eldan cemveecsse sihaie )gbk soa neelased er nare .
u v
n t If true, then to find a designer who can actually write
a ai
l e
ist cr and make marks is nothing short of miraculous.
MANIFESTOicS P M DU A E RN S UPI G A O NL SS E narrativeM O N O G R A P H S disVcIuSrUviAe L poetic C L BA LR O IG T G Y I N G aflpituwmshsenu hsiodoIISdeneynnspoenreoe d s,ltdrca r eiiseplyg ie oteewtsrs nantytdaoin’oa.g r s,v trwr de nedhtbd i rhiheaun,cbn ostaargnigi rryagt oced a lhlhnnet slopihryos sgs“aeii s pcnsodniea tssrys esru a o ei fita“rcdrb!hnnateoilre sidcmest t umc intitsbhhlvorto ieaoassrnu, todmo”e aslles x tv b pfmiopiaiuosenvlla natlaegur ak nrak”noc na yasaftrt reewiitoluoqsqihno benuuos r.eosbiau drrR losasaevlaoy,silsa ng tslatml duehaorhn ratta iwgsw-tbln beleolcy hn eroron ya cdwnltuie lsocnpomes?e ,/egrb ldObooaeeun per ffasb rtdltipn -eeeno bad cnffedrora savwaorausg iin srasnoarei luanir tl tmape .tddh lrhhE saoesess vgok ojy—noeer i nlii,wloun ele tgssiev c ;ftl brr e ryhheatneepehntocg ihme’wodvta ,m eres oaoesdt drfieelriegos r enm edrenpsg oeoecsta tsro .avry “i nmkTrigwpsa nhdueensope ieakrhdsrsalds se eira vs.gltskc mdeoinMcsgr o oefisan.aotruu sshenWr ns r msym ats,vr s .”uvis ea tYfmicrkaiosbhnneeurata g y la ll l
just as often, design is the frame that showcases words, and illustration illuminates them. Today, designers
must master the visual and verbal. With increasing multimedia communication platforms opening all
the time, reading and writing and, more than ever, research (a third imperative skill), are the designer’s
essential three R’s.
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001-017_28858.indd 8 ((FFooggrraa 2299__WWFF))JJoobb::0088--2288885588 TTiittllee::RRPP--WWrriittiinngg && RReesseeaarrcchh ffoorr GGrraapphhiicc DDeessiiggnneerrss8/30/12 4:33 PM 001-017_28858.indd 9 ((FFooggrraa 2299__WWFF))JJoobb::0088--2288885588 TTiittllee::RRPP--WWrriittiinngg && RReesseeaarrcchh ffoorr GGrraapphhiicc DDeessiiggnneerrss8/30/12 4:33 PM
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na C R D IE T SI C IG I SN M l a cin h c et WRITING ssenisub T W E E T I N G T cEiXTING Tofo ocltahslseiscs Hcoowllbyowyos oadn dW wehstieskrnerse—d cporuolsdp ebcatorerlsy— restaadp loers
la me write, so they made crude marks in lieu of signatures.
city VERBAL dac
j o B R SETVRITUYCTURERESEARCH DMEASMKIGEA NRYEKORUSR, READING SIMPFLUINCa CI T T Y I O N e Gramtphucrracaleaertucp, kis vshyseee—edirlctby ol aadtoflceh ,gcn setooioe grsrxtd.en t iwaLeunsroarogslign ,ta tiisacorn n ef gaao dnn r co odoerbtt rehar tice ealmoarilni dmcot ieodsnirlgniagacngnt.uie dtaTm ie( vhgor e,orer atfydt hp oseoehcfioyniicte clhihny eldan cemveecsse sihaie )gbk soa neelased er nare .
u v
n t If true, then to find a designer who can actually write
a ai
l e
ist cr and make marks is nothing short of miraculous.
MANIFESTOicS P M DU A E RN S UPI G A O NL SS E narrativeM O N O G R A P H S disVcIuSrUviAe L poetic C L BA LR O IG T G Y I N G maflpituwshsenu hsiodoISIdeneynnspoenreoe ds,ltdrca r eiiseplyg ie otewetsrs nantytdaoin’oa.g r s,v trwr de nedhtbd i rhiheaun,cbn ostaargnigi rryagt oced a lhlhnnet slopihryos sgs“aeii s pcnsodniea tssrys esru a o ei fita“rcdrb!hnnateoilre sidcmest t umc intitsbhhlvorto ieaoassrnu, todom”e aslles x tv b pfmiopiaiuosenvlla natlaegur ak nrak”noc na yasaftrt reewiitoluoqsqihno benuuos r.eosbiau drrR losasaevlaoy,silsa ng tslatml duehaorhn ratta iwgsw-tbln beleolcy hn eroron ya cdwnltuie lsocnpomes?e ,/egrb ldObooaeeun per ffasb rtdltipn -eeeno bad cnffedrora savwaorausg iin srasnoarei luanir tl tmape .tddh lrhhE saoesess vgok ojy—noeer i nlii,wloun ele tgssiev c ;ftl brr e ryhheatneepehntocg ihme’wodvta ,m eres oaoesdt drfieelriegos r enm edrenpsg oeoecsta tsro .avry “i nmkTrigwpsa nhdueensope ieakrhdsrsalds se eira vs.gltskc mdeoinMcsgr o oefisan.aotruu sshenWr ns r msym ats,vr s .”uvis ea tYfmicrkaiosbhnneeurata g y la ll l
just as often, design is the frame that showcases words, and illustration illuminates them. Today, designers
must master the visual and verbal. With increasing multimedia communication platforms opening all
the time, reading and writing and, more than ever, research (a third imperative skill), are the designer’s
essential three R’s.
001-017_28858.indd 8 8/30/12 4:34 PM 001-017_28858.indd 9 8/30/12 4:34 PM
001-017_28858.indd 8 ((FFooggrraa 2299__WWFF))JJoobb::0088--2288885588 TTiittllee::RRPP--WWrriittiinngg && RReesseeaarrcchh ffoorr GGrraapphhiicc DDeessiiggnneerrss8/30/12 4:33 PM 001-017_28858.indd 9 ((FFooggrraa 2299__WWFF))JJoobb::0088--2288885588 TTiittllee::RRPP--WWrriittiinngg && RReesseeaarrcchh ffoorr GGrraapphhiicc DDeessiiggnneerrss8/30/12 4:33 PM
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Writing & research for graphic designers foreword designers,
0 1
1 1
It is not clear how the myth originated that designers Writing a simple coherent letter is an important business of describing how work is conceived and fabricated; a vehicle Another important piece of advice is, Play to your strength!
(and illustrators) are as averse to reading and writing as old requisite; composing a cogent proposal for a job is essential. to shed critical and analytical light, and provide transparency; This is one of life’s mantras that need repeating. So, if writing
cowpokes and prospectors were to brushing their teeth. In fact, Clients want to be assured of fundamental intelligence and and an ability to simply introduce all kinds of audiences to is not your strength, exercise that part of your brain so that
over the past two centuries designers have done a considerable attention to detail (and with spell-check, there is no excuse design. How can a profession as ubiquitous and encompassing it can become more muscular. Try this: The more you read,
amount of credible writing: everything from design manuals for errors either). Fundamental writing expertise is valued as graphic design be taken seriously without a body of literature? the larger the pool of examples to build upon. The more you
and manifestos to monographs and histories—and a few have as much as aesthetic and strategic design assets today. But The difference between design writing and general writing write, the greater the opportunity to try those examples to
published novels and screenplays too. Just because a graphic writing today is also more challenging owing to the new is ostensibly nil. Yet all professional writing is prone to determine what works best. Don’t be afraid to make mistakes.
designer is expert at nonverbal expression does not mean she standards and vernaculars. As early as grade school, abbreviation shorthand or jargon, and the job of the design writer is to use We all do. Copy editors—the writer’s best friend—will
is verbally challenged. is an accepted means of formal communication. Facebook, as little of it as possible. Even those in the know would rather usually fix the errors, and some will even teach the author
On average, a graphic designer is, perhaps, not as skilled a Twitter, and messaging protocols have altered writing habits read smartly constructed, flowing and entertaining prose than why it was a mistake. With writing there is always a safety
wordsmith as the professional writer, but writing standards through shorthand and the introduction of new nouns and insider-speak. Design writing should respect the reader by net as long as you don’t fall madly in love with any single
are relative—and quality can be improved through practice verbs into the language. While blogs encourage more writing not talking up or down—do not assume ignorance, but do part of your prose. Words are free—and there are lots of
(as the old joke reminds us: A man meets another on the street and enable designers to share their thoughts and ideas with not take knowledge for granted either. Balance is key. them, so use them freely. The worst thing a neophyte or
and asks for directions. Q. How do you get to Carnegie Hall? audiences, the inevitable informality, which can eschew rules Following rules is essential too. But rules of writing are seasoned writer can do is to reject an editor’s suggestions.
A. Practice!). Designers do not write with the same frequency as of good writing and editing, results in poor language skills. often fungible. It is important to understand the end user’s So why should you read this book? What will be your
they design, so they may lack a necessary level of confidence. Blogging, texting, and tweeting have produced new vernacu- capacity for understanding. For example, avoid adding extra- takeaway? This is both a guide to and a celebration of design
But confidence is always fortified through experience. Akin lars rooted in abbreviation, which is not implicitly bad, but neous verbiage when writing for business outcomes, such as writing and research. It is aimed at inspiring and instructing.
to physical exercise, everyday writing tones up the intellectual has impacted our forms of address. Nonetheless, language press releases or proposals of any sort. All writing can benefit As a guide, the book features various authors and editors
muscles. One-two-three, one-two-three. has always changed as customs do. Thank heavens, I pray from brevity, but business writing should stick to the point— who have been asked to discuss writing and research in
There are many ways to get exercise too. The rise of writing thee, we doth speak any longer in Shakespearean English. hit the nails hard—without indulging in personal quirks. general and the genesis and progress of specific writing
today can be ascribed to something even more fundamental: Dig it, y’all gentlefolk. Creative writing, on the other hand, which involves devel- examples. The process differs from writer to writer and
All designers work on computers, which are replete with Business-oriented writing—which does not have to oping narrative, should be as robust as possible, but never editor to editor—and this will be discussed.
keyboards. Like eating potato chips (it is impossible to eat be as strained as it often is—is but one type of writing. confusing. Writing, like design, benefits greatly from good As a celebration, the book’s goal is to advocate for more
just one), few people are immune to the allure of the keyboard Designers are now called upon for a slew of different kinds editing (self-editing and that of professional copy editors). design writing that illuminates the methodologies behind
pecking away and watching words emerge; the word faucet is of writing tasks, from academic to journalistic, critical to Avoiding what is turgidly or overly written requires design “objects” that have distinct places in the cultural
hard to turn off once it starts flowing. What’s more, design- promotional, and more. the same judgment as knowing what’s overly designed. fabric. Writing and researching is design!
ing in time and space with the employ of motion is now a Designers must tell stories—they must ascribe narrative Damn the adjectives! Damn the ornament! Whether you become a writer after reading this book is
significant and essential part of the graphic design skill set. underpinnings to their designs or the work of others. Indeed, Editing one’s own writing can be difficult, even for sea- up to you. But you will doubtless appreciate that writing
Likewise, writing (and applying various methods of research) their designs must have a narrative. Context is everything, soned writers. Yet for designers, editing design is second and research is an integral part of the design experience. If
is integral to communicating on a multitude of old and new and writing helps establish the story that design wants to nature. For the untutored writer, editing words may demand you become more adept at writing and research in part, then
design platforms. tell. Where once it was enough simply (and it is never simple) greater forethought (writing a few drafts does wonders). you have, in fact, started to make your mark(s) in the best
What is writing? Just pecking away is comparable to to make objects of design, now designers are encouraged to While a good designer instinctually rejects unnecessary way possible—as a visually and verbally literate designer.
doodling. Serious writing demands structure, purpose, and wrap their respective works in blankets of words that add an design elements, a good writer will avoid, for instance, florid
function. There are many kinds of writing, from pro forma additional dimension to their output. prose. But here is the “takeaway”: The insecure writer will
to expressive, from technical to narrative, from discursive to Writing about design (or writing about other things— throw in as many adjectives or adverbs or descriptors as possible
poetic. Whatever the form, writing is as essential to design art, politics, science—through a design lens) serves various to compensate for a lack of experience. In an effort to make
as math is to science and science is to knowledge in general. functions. It is a means to explore and explain the intuitive text sound serious, the insecure writer is compelled to gild
Writing about design is a tool for collecting and disseminat- qualities that often confound the nondesigner—and even the the lily. Although it is no longer miraculous that a designer
ing knowledge. For now, however, we will focus on the basic visually literate designer. Writing is a way to disseminate can design and write—and read and research—that is not to
essence of design writing. ideas and philosophies within design communities; a method say that it comes naturally either. Nor should it.
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